Graeme Shields celebrates composer Robert Ashley

Emma Lou Diemer

Emma Lou Diemer, born in Kansas City, Missouri, November 24, 1927, died June 2, 2024, in Santa Barbara, California. She played piano and composed at a very early age, and she became organist in her church at age 13. Her interest in composing music continued through College High School, Warrensburg, Missouri, and she majored in composition at the Yale School of Music, New Haven, Connecticut, earning a Bachelor of Music degree in 1949 and a Master of Music degree in 1950. She finished her Ph.D. degree at the Eastman School of Music, Rochester, New York, in 1960. She studied in Brussels, Belgium, on a Fulbright scholarship and spent two summers of composition study at the Berkshire Music Center.

Diemer taught at several colleges and was organist at several churches in the Kansas City area during the 1950s. From 1959 until 1961 she was composer-in-residence in the Arlington, Virginia, schools under the Ford Foundation Young Composers Project. She composed many choral and instrumental works for schools, a number of which are still in publication. She was consultant for the MENC Contemporary Music Project before joining the faculty of the University of Maryland where she taught composition and theory from 1965 until 1970. In 1971 she moved from the East Coast to teach composition and theory at the University of California, Santa Barbara. There she was instrumental in founding the electronic/computer music program. In 1991 she was named Professor Emeritus.

Through the years she has fulfilled many commissions of orchestral, chamber ensemble, keyboard, choral, and vocal works for schools, churches, and professional organizations. Most of her works are published. She received awards from Yale University (Certificate of Merit), Eastman School of Music (Edward Benjamin Award), National Endowment for the Arts (electronic music project), Mu Phi Epsilon (Certificate of Merit), Kennedy Center Friedheim Awards (for a piano concerto), American Guild of Organists (Composer of the Year), American Society of Composers, Authors, and Publishers/ASCAP (annually since 1962 for performances and publications), the Santa Barbara Symphony (composer-in-residence, 1990–1992), the University of Central Missouri (honorary doctorate), and others.

She was an active keyboard performer on piano, organ, harpsichord, and synthesizer, and in later years gave concerts of her own music at Washington National Cathedral, St. Mary’s Cathedral and Grace Cathedral in San Francisco, Cathedral of Our Lady of the Angels in Los Angeles, and elsewhere. For information: emmaloudiemermusic.com.

Eugene “Gene” E. Englert

Eugene “Gene” E. Englert, 93, pianist, choral director, composer, organist, and liturgist, died June 2. Born March 15, 1931, he began playing organ for Catholic Masses at a young age. Upon graduation from Purcell High School, Cincinnati, Ohio, he attended the Athenaeum of Ohio in Cincinnati. After serving in the Army in Korea where he was prompted to give a concert in the American embassy and form and conduct a Korean children’s choir, Englert completed his Master of Music degree at the University of Cincinnati Conservatory of Music.

Englert married Ruth Caplinger, and they began their family and his long career as a Catholic church musician and choir director in the Archdiocese of Cincinnati. He was music and choir director at St. Clement, St. Charles, St. Clare Catholic churches in Cincinnati, Sacred Heart Catholic Church in Fairfield, Ohio, and Assumption Catholic Church in Mt. Healthy, Ohio, where he served for 52 years. He also was music director at McAuley High School and Good Samaritan Hospital School of Nursing, both in Cincinnati, preparing choirs and music groups for concerts and shows for many years. One of his accomplishments was taking two of his choirs to Rome to sing for Pope John Paul II in 1988.

Englert began composing choral, piano, and organ music in the 1960s with more than 250 pieces of published choral music, mostly written for church choirs and hymnals and still being sung in churches all over the world. He was a founding member of the National Catholic Music Educators Association, an organization of musicians dedicated to Catholic music education that eventually developed into what is now known as the National Association of Pastoral Musicians (NPM). Englert was part of the Milwaukee Composers’ Forum that produced a major document on church music and liturgy.

Eugene E. Englert was preceded in death in 2010 by his wife of 53 years, Ruth, and also by their son Mark who died as a young child. He is survived by three children: Stephanie (John Williams), John, and Jeannette (Clifton Funches), and two grandchildren. A funeral Mass was celebrated June 8 at the Church of the Assumption, Mt. Healthy, with burial at St. Mary’s Cemetery, St. Bernard, Ohio, with military honors.

Dana June Hull

Dana June Hull, 97, of Ann Arbor, Michigan, died June 4. Born February 14, 1927, in Waterville, Ohio, she graduated from Bowling Green State University, Bowling Green, Ohio, with a Bachelor of Music degree in organ performance. Hull was one of the first women to start a business for the restoration of historic pipe organs in the United States, located in Ann Arbor.

Throughout her life she held organist positions and worked as a choral conductor and accompanist in churches, working until the age of 92. She was an active member of the American Guild of Organists, the Organ Historical Society, and the Reed Organ Society.

Dana June Hull is survived by her daughter-in-law, Christiane Hull, three grandchildren, and two great-grandchildren. She was preceded in death by her son, Dallas Hull, and stepdaughter, Diane Willis. A memorial service was conducted June 25 at St. Andrew’s Episcopal Church, Ann Arbor. Memorial contributions can be given to St. Andrew’s Episcopal Church Music Fund (www.standrewsaa.org/give.html), or by mailing gifts noted in her memory to the church: 306 North Division Street, Ann Arbor, Michigan 48104.

Richard “Rick” Ivan Morel

Richard “Rick” Ivan Morel, 76, died June 3 in Denver, Colorado. He was born July 14, 1947, in Watertown, Massachusetts; his family moved to Colorado when he was eight. Rick’s father, Ivan, came to Denver to work for Fred H. Meunier in the pipe organ business. Ivan eventually bought the business, and it became Ivan P. Morel and Associates, Inc. When Rick graduated from high school, he joined his father’s firm. When Ivan retired, Rick took over the business. The firm installed, built, refurbished, and provided service to organs in five states.

Rick Morel not only loved the pipe organ but also its history. The Morel company refurbished the organ at the Cathedral Basilica of the Immaculate Conception in Denver. Rick was present at the cathedral making sure the organ worked perfectly when Pope St. John Paul II visited in 1993. Morel spent the last decade or more trying to bring new people into the business of pipe organs. He was dedicated to preserving historical files on many instruments. He celebrated his 58th anniversary of employment at Morel and Associates on May 8.

When Morel was 25 he met and married Sharlie Ann Kern, who survives. They celebrated their 50th wedding anniversary September 1, 2023.

A memorial service will take place at Montview Presbyterian Church, Denver, August 21. Phil Bordeleau, music director at the Cathedral Basilica of the Immaculate Conception, will dedicate a recital to Morel’s memory in spring 2025.

Kenneth Robert Reed

Kenneth Robert Reed, 73, of Otsego, Michigan, died at home on May 1, 2024. He had been diagnosed with lung cancer a year earlier, which had metastasized to his brain. Born on April 3, 1951, in Sturgis, Michigan, he was a graduate of Mattawan High School. After managing a plastics company for ten years, he became fascinated with pipe making upon being introduced to it. In 1978 Ken met his life partner, James Lauck. Together they owned and operated the Lauck Pipe Organ Company, Otsego, Michigan. Since 1983 he had been a pipemaker and operated his pipe shop adjacent to Lauck Pipe Organ Co.

Reed was skilled in all phases of pipe making including metal casting, flue and reed pipe making, and the machining of shallots and blocks. Most of his production found its way into Lauck organs, but he was always willing to help out other organ builders with on-site installation problems. He was also office manager and general manager of Lauck Pipe Organ Co. until the company closed in 2018. His passions were his home, gentleman farming, raising various animals, and tending to the acreage. Kenneth Reed is survived by his husband, James Lauck, whom he had been with for 45 years.

The Diapason staff

Matthew Buller

Matthew Buller is a native of Lake Charles, Louisiana, and a candidate for the Artist Diploma at Oberlin Conservatory of Music, Oberlin, Ohio, where he studies with Arvid Gast. He earned his Bachelor of Music and Master of Music degrees from Oberlin in May 2017, where he had the privilege of studying with organists such as Nathan Laube, Liuwe Tamminga, Jean-Baptiste Robin, and Marie-Louise Langlais, in addition to his regular studies with James David Christie and Jonathan Moyer. He also studied harpsichord under Webb Wiggins and fortepiano under David Breitman. Since 2017, Matthew has been director of music and organist at Holy Family Catholic Church in Parma, Ohio. As a performer, he has performed extensively around the United States, in Montreal, Québec, and in Paris, France. He also performed on the 2015 Danenburg Honors Recital, in addition to performing on the Songsun Lee Memorial Concert in Vero Beach, Florida, in 2016.

An interesting fact: I am a collector of old organ scores and old hymnals.

Proudest achievement: A major scholarship to study at Oberlin Conservatory and many opportunities in the world of church music.

Career aspirations and goals: I hope to be a director of music in a major cathedral and to perform large choral, orchestral, and organ Masses in their original context, namely during the Catholic Mass.

Katie Burk

Originally from Lawrence, Kansas, Katie Burk is an organist, conductor, vocalist, and composer pursuing the Doctor of Music degree in organ performance at Indiana University, where she is a student of Christopher Young. An active organ recitalist and choral clinician, she currently serves as music intern at Trinity Episcopal Church in Bloomington, Indiana, under the direction of Marilyn Keiser, where she directs and accompanies both youth and adult choral ensembles and coordinates the Evenings at Trinity music and liturgy series. Additionally, she teaches undergraduate aural skills courses at the IU Jacobs School of Music. She holds the Master of Music degree in organ from IU and Bachelor of Music degrees in organ and music education summa cum laude from Saint Olaf College, Northfield, Minnesota, where she sang in the Saint Olaf Choir and studied organ with Catherine Rodland, conducting with Anton Armstrong and Christopher Aspaas, and voice with Karen Wilkerson. This summer, Katie will be a faculty member at both the Royal School of Church Music in America’s King’s College Training Course in Wilkes-Barre, Pennsylvania, and the Presbyterian Association of Musicians Conference on Worship and Music at Montreat, North Carolina.

An interesting fact: I am an identical twin; my sister Maggie is a choral conductor and composer (who moonlights as an organist!) about to start her doctorate at the University of Michigan!

Proudest achievement: Though it’s still a little way off, I predict that once I finish everything up, I will be very happy to have earned a doctorate in organ (an instrument I didn’t play until college!). For the moment, however, I’m excited that my choral compositions are being performed in venues such as the National Cathedral in Washington, D.C., and Saint Mark’s Church in Philadelphia!

Career aspirations and goals: Whether I find myself in academia or working as a church musician (or both), I’d like my job to be multifaceted. I’ve always enjoyed a wide variety of musical activities—playing the organ, conducting, singing, teaching, composing—and I hope to be in a setting where I can continue to pursue all of my interests!

Jared Cook

Jared D. Cook is a native of Houston, Texas, where he began his formal organ study at age seventeen with Stephen Morris. He is currently a junior organ performance and French major at Baylor University, where he studies with Isabelle Demers. In the 2018 William C. Hall Pipe Organ Competition, he was awarded first place in the undergraduate division, as well as the prize for outstanding hymn playing. During his sophomore year, he was selected as the organ division winner in the 2018 Baylor School of Music Semper Pro Musica Competition. An active recitalist, Jared has performed recitals at the Cathedral of Saint John the Divine, New York City, Saint Bartholomew’s Episcopal Church, New York City, Christ Church Cathedral, Houston, among others.

Jared has served as organ scholar at Holy Spirit Episcopal Church in Houston and as principal organist at Saint Paul’s Episcopal Church, Waco, Texas, where his responsibilities included accompanying the Chancel Choir and playing for services. Currently, he is serving as organ scholar at Preston Hollow Presbyterian Church, Dallas, Texas.

An interesting fact: I speak three languages (English, Spanish, and French) and enjoy traveling frequently!

Proudest achievement: I’m the proudest of making the organ accessible to non-organists. I enjoy showcasing the colors and abilities of the instrument, and helping people develop an appreciation for the organ.

Career aspirations and goals: I’d like to inspire people as a concert organist, pedagogue, and church musician. It is my goal to continue making the organ an accessible instrument and to give back to the community through music. I want to help educate others about the organ and help them develop a passion for the “King of Instruments.”

Carolyn Craig

Carolyn Craig of Knoxville, Tennessee, is the 2018–2019 organ scholar at Truro Cathedral in Truro, England, where her duties include playing for at least three Evensongs per week and training the youngest boy choristers daily. She will begin a Master of Music in organ performance in 2019. Carolyn graduated summa cum laude from Indiana University in 2018, where she held the Wells Scholarship and was one of five graduating seniors to receive the Elvis J. Stahr Award for leadership and academic excellence. Carolyn graduated with a Bachelor of Music in organ performance in the studio of Christopher Young with minors in conducting and German. While at Indiana University, Carolyn was organ scholar at Trinity Episcopal Church with Marilyn Keiser.

Carolyn began her keyboard studies as a pianist and performed in Carnegie Hall at age 14 as a winner of the American Protégé International Talent Competition. At the age of seventeen, Carolyn won the Region IV Quimby Competition for Young Organists and performed a Rising Star recital for the 2014 American Guild of Organists national convention in Boston, Massachusetts. She has since been heard on Pipedreams and in recital domestically and abroad, in venues such as St. Paul’s Cathedral, London, England.

An interesting fact: I love to sing. I study voice privately whenever I have the chance, currently with Margaret Kingsley, professor emerita of the Royal College of Music, and studied privately at Indiana University and, as a high school student, at the University of Tennessee. At Indiana University, I sang in Dominick DiOrio’s new music choir NOTUS, in the early music group CONCENTUS, for many colleagues’ composition premieres, and in the student-led chamber choir Burgundian Consort (Hannah McGinty, director). I have also done some musical theater and enjoy singing a cappella with the Choral Scholars of Truro Cathedral.

Proudest achievement: I’m proudest when my teaching is successful—when I see my organ students playing their first postlude, when the youngest boy choristers I train have their first solos, when theory concepts and sight singing click, and when community choirs get German vowels right.

Career aspirations and goals: I would like to be the choir director and organist at a church where vibrant children’s choir and adult choir programs provide a foundation for faith formation and contribute to a sense of community and where the standard for choral and organ music is excellence. Additionally, I would like to concertize as an organist and would like to perform as a collaborative pianist and professional choral soprano. I would also like to continue teaching organ lessons.

Bryan Dunnewald

Conductor and organist Bryan Dunnewald of Arvada, Colorado, has performed in numerous venues across the country, from the Washington National Cathedral to the Mormon Tabernacle. From 2015 to 2018, he served as organ scholar at Saint Mark’s Church, an Anglo-Catholic parish in Philadelphia, Pennsylvania, and as assistant organist at Macy’s (formerly Wanamaker’s) department store, giving frequent concerts on the largest organ in the world. Bryan enjoys collaborating with ensembles large and small and has performed with the Philadelphia Orchestra, the Colorado Symphony, the Curtis Symphony Orchestra, and numerous chamber ensembles as an organist and harpsichordist. As a conductor, Bryan has led a variety of ensembles, from orchestras at Curtis to choirs in Denver. He is an active composer and recently conducted the premiere of his Missa Brevis: Saint Mark with Saint Mark’s Parish Choir. Bryan currently lives in New York City where he pursues a master’s degree in orchestral conducting with David Hayes at the Mannes School of Music. He is a graduate of the Curtis Institute of Music and Interlochen Arts Academy, earning over the course of his studies the highest honors in music, academics, citizenship, and character. Bryan’s teachers and mentors include Alan Morrison, Robert McCormick, Jonathan Coopersmith, Leon Schelhase, Thomas Bara, Steve Larson, Martha Sandford-Heyns, and Joseph Galema. In the summer of 2018, he worked at Schoenstein & Co., developing his love of organbuilding as an apprentice to Jack Bethards.

An interesting fact: I love architecture and public transit. I have a very real dream to drive a bus one day.

Proudest achievement: My proudest professional moments are those in which I create something great with others. These achievements can be in- or outside of music. Some recent examples include conducting the premiere of my Missa Brevis at Saint Mark’s, working for years with administrators at Curtis to make positive changes to the orchestra program, conducting my friends at my graduation recital in a performance of one of my very favorite pieces, Poulenc’s Le Bal Masqué, and voicing my very first rank of pipes (with some success!) at Schoenstein.

Career aspirations and goals: I want a career in which I build something special. There are many disciplines that make me feel fulfilled, so I look for a career with variety, one where those disciplines complement each other. Being a leader and fostering an environment of healthy, serious artistry are important to me. Outside that I expect to have a career that involves, in some form, playing, conducting (orchestras and choirs), working with others, organbuilding, and bus driving (likely in retirement).

Website: www.bryandunnewald.com.

Daniel Ficarri

A native of Pittsburgh, Pennsylvania, Daniel Ficarri is a graduate student at The Juilliard School, studying with organist Paul Jacobs. Ficarri is recognized as a performer of both new music and standard classical repertoire—The New York Times listed his performance of John Cage’s Souvenir under the “Week’s 8 Best Classical Music Moments,” and WQXR broadcast his live all-Bach performance as part of their “Bach Organ Marathon.” He has performed around the country and at New York City’s Cathedral of Saint John the Divine, Saint Thomas Church, and Trinity Church Wall Street. His orchestral performances have included engagements with the Florida Orchestra and the Juilliard Orchestra in Carnegie Hall and Alice Tully Hall. Ficarri has also composed extensively for the organ—his Exultation was commissioned by Choir & Organ magazine for the dedication of the Miller-Scott Organ at Saint Thomas Church. An active church musician, Ficarri is currently organ scholar at Church of Saint Paul the Apostle in Manhattan, where he founded the organ concert series “Sacred Sounds at Saint Paul’s.” Previously, he served as organ scholar at Hitchcock Presbyterian Church in Scarsdale, New York. For more information, and to purchase sheet music, visit www.danielficarri.com.

An interesting fact: I began my musical training as a violinist and studied privately for ten years. Though I no longer study the violin, I still have a great love of music for strings and orchestra and enjoy transcribing these works for organ.

Proudest achievement: I find the greatest satisfaction in composing my own works for the organ. My favorite of these compositions is Exultation, a fanfare. Composing allows me to push the limits of the instrument while sharing my unique voice.

Career aspirations and goals: I hope that my work is able to bring awareness to the potential of the organ and the enduring relevance of its music. Whether through performing, composing, or serving in churches, I hope that I am able to educate and inspire others to take interest in the voices of history’s great artists. The organ and its repertoire are greatly misunderstood—by the musically ignorant in society and also by the most advanced classical musicians. My greatest aspiration is to enlighten others, and in doing so, enrich their lives in some way.

Julian Goods

Raised in Chicago, Illinois, Julian J. Goods is a senior at the University of Michigan pursuing a Bachelor of Music degree in choral music education. He has a primary focus in voice and secondary focuses in pipe organ and conducting. Over the last few years, Goods has worked closely with the choral conducting and music education faculty to help find ways in which he can become a successful and effective teacher in schools with primarily African American student populations. In the fall, he will be starting a Master of Music degree in choral conducting at the University of Michigan. Goods serves as the music director for the Michigan Gospel Chorale and organist at both Hartford Memorial Baptist Church and Tabernacle Missionary Baptist Church in Detroit. He is a member of the American Guild of Organists, American Choral Directors Association, and the National Association of Negro Musicians where he serves on the Collegiate Board and as the recording secretary for the Central Region.

An interesting fact: I am a proud Eagle Scout.

Proudest achievement: My proudest achievement is every time an ensemble or someone I work with experiences a success.

It would be very easy for me to say that my proudest achievement would be any of the awards, honors, or recognitions that I have collected over the years; however, there is one achievement that I am especially proud of. My proudest achievement is the work that I do as a student teacher within the Detroit Public Schools System. As a student teacher I have the opportunity to spend time engaging with and cultivating young minds. On a daily basis, I am able to sow into these young minds and work to provide them with the resources they need. I am the most proud when I am able to see these bright individuals take those resources and utilize them to work toward a successful future. I am a giver to my very core, and watching my students take what I give them and produce success is truly my proudest achievement to date.

Career aspirations and goals: My ultimate goal is to one day serve as the director of choral activities at a university/college where my focus would be to build a choir that will continue the strong tradition of Western European Classical music while constantly displaying the diverse repertoire of choral music from around the world.

Conner Kunz

Conner Kunz was born in Delta, Utah, to Mark and Beverly Kunz and has always had a fascination with music, the pipe organ, and large mechanical devices. He graduated from Delta High School and currently studies business management at Utah Valley University and also works with Bigelow & Co. organbuilders as a part-time craftsman. His main areas of interest in the organ world include the mechanical creation of the organ, as well as voicing and tuning of pipes, and he hopes to continue to broaden his skills in those areas.

An interesting fact: Before I was employed at Bigelow & Co. I was a high-end furniture maker.

Proudest achievement: My furniture can be seen internationally in the temples of The Church of Jesus Christ of Latter Day Saints.

Career aspirations and goals: I hope to be able to take on the career of pipe organ building and more fully develop my capabilities in both the design and production of these beautiful instruments.

Colin MacKnight

Colin MacKnight is a third year C. V. Starr Doctoral Fellow at The Juilliard School, where he also completed his bachelor’s and master’s degrees. He studies with Paul Jacobs, Grammy award winner and chair of the organ department, and is working on his dissertation entitled “Ex Uno Plures: A Proposed Completion of Bach’s Art of Fugue.” Colin also serves as associate organist and choirmaster at Cathedral of the Incarnation on Long Island. Before Incarnation, Colin was assistant organist and music theory teacher at Saint Thomas Church, Fifth Avenue.

Colin’s first prizes and scholarships include the 2017 West Chester University International Organ Competition, 2016 Albert Schweitzer Organ Competition, 2016 Arthur Poister Scholarship Competition, M. Louise Miller Scholarship from the Greater Bridgeport Chapter of the American Guild of Organists, the 2013 Rodgers North American Classical Organ Competition, and the Ruth and Paul Manz Organ Scholarship. He also won the New York City and Northeast regional AGO competitions. In addition, Colin received the Clarence Snyder Third Prize in the 2016 Longwood Gardens International Organ Competition and is a Fellow of the American Guild of Organists.

An interesting fact: I was an extremely reckless and accident-prone kid. I went to the emergency room so often that I had my favorite hospital and the staff there knew me, and my mom says that my raison d'être was self-destruction. One of my more memorable injuries was when I concussed myself by diving into a bathtub with no water.

Proudest achievement: Most recently, acquiring two free leather couches and smuggling them into the Juilliard organ rooms.

Career aspirations and goals: I’m mainly interested in doing church music, concertizing, and perhaps doing some teaching. I particularly enjoy the variety of musical activities that are involved in church music: repertoire, improvisation, conducting, service playing, etc.

Website: colinmacknight.com.

Thomas Mellan

Born in Lyon, France, Thomas Mellan won first place in the Musical Merit Foundation’s national competition in 2016. In 2011, he recorded for the official documentary of the Walt Disney Concert Hall organ. He performed as a Rising Star in the American Guild of Organists’ West Region Convention and the Spreckels Centennial International Festival in 2015. As Young Artist of the Year, he played in the 23rd International Festival of St. Eustache in Paris, France. In 2018, his European tour included a residency at the Organ Hall in Lviv, where he gave the Ukrainian premiere of Messiaen’s Livre d’Orgue.

His compositions include orchestral, chamber, and solo works, which have been performed in France, America, Canada, and Ukraine. Mellan was the Outstanding Graduate of the undergraduate class of 2017 at the University of Southern California, Thornton School of Music, graduating with a double major in organ and composition.

An interesting fact: I pick hikes spontaneously and based on the elevation gain. If it’s below 700 meters (+- 3,000 feet), then it’s too pleasant!

Proudest achievement: Pushing organ technique to new possibilities, by playing and designing études (Chopin, Dupré, Liszt, my own), modern music (Xenakis and Barraqué, for instance, push keyboard technique and expression to new boundaries), and new works of my own, such as my Ballade de l’impossible.

Playing three concerts on three consecutive nights in Lviv, Ukraine, each with individual programs last summer.

Career aspirations and goals: Touring internationally as an organist with programs of music that I believe in (sometimes, but not always, organ repertoire: Ferneyhough, Bach, Louis Couperin, Schoenberg, Liszt, Xenakis, Reger, Webern, to name just a tiny bunch); teaching at a university or conservatoire; composing pieces that I feel need to be written (at the moment my backlog of commissions includes an organ concerto, violin inventions, and a percussion solo); touring as a harpsichordist (Couperin, Froberger!) and pianist (Boulez! Bartok!).

Alexander Meszler

Alexander Meszler is a Doctor of Musical Arts degree student in organ of Kimberly Marshall at Arizona State University. He currently lives in Versailles, France, on a Fulbright award where he investigates secularism and the organ and studies with Jean-Baptiste Robin. Meszler completed his master’s degree in organ performance and music theory at the University of Kansas where he studied organ with Michael Bauer and James Higdon and his bachelor’s degree in organ with Kola Owolabi while at Syracuse University.

Alexander has been a finalist in several performance competitions and, in 2016, he won second prize at the Westchester University Organ Competition. A strong advocate of music by living composers, he currently serves as a member of the American Guild of Organists’ Committee on New Music. He has collaborated with composers Huw Morgan, Hon Ki Cheung, and George Katehis on the premieres of their organ works.

In 2017, he was awarded a grant from the Arizona Center for Renaissance and Medieval Studies for a project titled, “Crossroads for the Organ in the Twenty-First Century: A Precedent for Secularism in the First Decades of Sixteenth-Century Print Culture.” He has presented papers and lecture-recitals at conferences including the Rocky Mountain chapter of the American Musicological Society, the Westfield Center for Historical Keyboard Studies, and the Historical Keyboard Society of North America. He is making his first significant interdisciplinary contribution this June at the European Association for the Study of Religions’ annual conference.

An interesting fact: I started my undergraduate career as a trombone major. Having taken some organ late in high school with Stephen Best in Utica, New York, I was warmly welcomed as a secondary student into the organ studio at Syracuse University. I found myself in the organ practice room for hours at a time—much, much more time than I spent practicing the trombone. The moment I knew I needed to approach Kola Owolabi, my organ teacher at the time, about the possibility of switching majors was when my trombone professor, Bill Harris, complimented my trombone playing in a rather distinctive way. He said, “You know, you play the trombone extremely well for an organ major.” Not an insult at all, he knew where my heart was. I am extremely thankful for both mentors!

Proudest achievement: I’m proud of a collaborative project that I initiated and organized with my mentor, Kimberly Marshall. Inspired by other artist-activists, we explored the negative environmental effects of a United States-Mexico border wall. We incorporated the art and music of many others including commissioning two new works funded by the Foundation for Contemporary Arts in New York City. One resulting work was for two organs and fixed-media electronics by Huw Morgan, which incorporated sounds of the wall itself from musician-activist Glenn Weyant. Another highlight for me was working with a leading scientist in the field, Michael Schoon, to write an accurate, yet moving script that accompanied the program. The result, if nothing else, was that new audiences were exposed both to the organ and the science behind this important and timely issue.

Career aspirations and goals: While there is no doubt that we live in uncertain times for the organ, I remain optimistic about the future. I want to find a place that will support my continuing research on secularism and the organ, but no matter where life takes me, I will share my love for the organ through teaching, research, and concertizing. I am and will always be on the lookout for ways to keep the organ exciting and relevant.

Website: alexandermeszler.com.

Collin Miller

Collin Miller is a native of Lafayette, Louisiana, and is a junior organ performance major at the Indiana University Jacobs School of Music where he is a student of Janette Fishell. He began playing piano at the age of five, receiving initial training from Rosa Lynne Miller and then studying with Susanna Garcia. In his freshman year of high school, Collin began taking organ lessons with Tom Neil and has since held church positions as pianist and organist at Northwood Methodist Church and the Episcopal Church of the Ascension in Lafayette. He was the winner of the 2017 American Guild of Organists Southwest Regional Competition for Young Organists and is a recipient of the Barbara and David Jacobs Scholarship.

An interesting fact: My primary interest outside of music is film, particularly the work of Béla Tarr, Federico Fellini, and the films of the French New Wave.

Proudest achievement: I am most proud of a few performances of lesser-known music I have given, including programming the Sonata on the 94th Psalm of Julius Reubke alongside the composer’s other more underplayed masterpiece, the Piano Sonata in B-flat Minor, as well as more recently performing the “Toccata” from the Second Organ Symphony of Kaikhosru Shapurji Sorabji, one of the most technically demanding sections of this massive work.

Career aspirations and goals: I aspire to become an organ professor at a university while continuing to advocate for and perform some of the neglected works of the repertoire, including eventually the three organ symphonies of Sorabji.

Ryan Mueller

Ryan Mueller holds a lifelong fascination of music, history, and all things mechanically inclined. A native of Milwaukee, Wisconsin, he credits the region’s landscape of instruments as inspiration for his love of pipe organs. Ryan began piano studies in third grade with Susan Eichstadt and began organ as a freshmen in high school with John Reim. Frequently called upon as a recitalist, lecturer, and writer, he recently founded Cream City Preservation, Inc., a non-profit organization dedicated to the advocacy of historic instruments, buildings, and artifacts. Ryan has served in various local American Guild of Organists and American Theatre Organ Society chapters and is also an active member of the Organ Historical Society, AGO’s Young Organist division, Association of Lutheran Church Musicians, and National Trust for Historic Preservation. He was a recipient of an OHS E. Power Biggs Fellowship in 2014 and was a scholar at the 2017 American Institute of Organbuilders convention. Ryan currently resides in Ogden, Iowa, working for Dobson Pipe Organ Builders Ltd., of Lake City, Iowa. While he takes part in a wide variety of service work and shop activities, Ryan’s primary responsibilities at Dobson revolve around the tonal department. Outside of the organ scene, he thoroughly enjoys restoring classic cars, photography, cycling, and spending time with his fiancée Emily, to whom he will be married this June.

An interesting fact: One thing not too many people know about me is that I have a real fascination of fire trucks. (I was one of those little boys who wanted to be a firefighter when I grew up.) Growing up, we lived right across the street from a fire station, and so till this day I am usually able to identify, by the sound of the siren, whether it is a ladder truck, engine, ambulance, or police car, etc., coming down the street.

Proudest achievement: Being a part of our new instrument at Saint Thomas Church Fifth Avenue is perhaps one of my bigger career accomplishments. Even though the project conceptualized many years before I began at Dobson, I was fortunate to be a part of the in-shop work, installation, and on-site voicing. Being but a small part of the team that brought Opus 93 to life and spending many months in Manhattan was a life changing experience. To me, there is no greater satisfaction than knowing that the fruits of your labor are going to stand, be used, and be heard by generations of people from around the world to the glory of God.

Career goals and aspirations: Though I am currently content with where I am at in my career, someday I would like to be the tonal director of a large firm and perhaps own my own company. Outside of career-oriented goals, I currently have two books in the works which I am hoping to complete in the next year or two.

Kevin Neel

Kevin Neel enjoys a versatile career as organist, collaborative pianist, conductor, singer, and arts administrator. He has been heard at the organ in numerous venues including Symphony Hall, Old South Church, Emmanuel Church, Old West Church, all in Boston, Massachusetts, as well as in the southeast. In December 2016 he co-founded The Brookline Consort, a choral ensemble for which he serves as co-artistic director, baritone, and primary accompanist, a group whose mission is to tell stories through diverse, thoughtful programming performed at the highest level. As a singer, he has sung with the Marsh Chapel Choir, Emmanuel Music, Cantata Singers, and VOICES 21C. He is organist and chapel choir director at Emmanuel Church, Boston, and serves as executive director for Coro Allegro and organist for Saint Clement Eucharistic Shrine. He holds degrees from Boston University in choral conducting and Indiana University in organ performance and is originally from the Charlotte, North Carolina, area.

An interesting fact: I trained in classical ballet.

Proudest achievement: Co-founding my own choral ensemble and serving as a singer, pianist, organist, and administrator for the ensemble.

Career aspirations and goals: I am excited to be able to work at the intersection of the choral and the organ worlds, both in and out of sacred music. I aspire to use my skills at the organ and as a choral musician to further the collaborative approach to music making. I’m drawn to collegiate music making, especially in university chapels, as it represents the intersection of the highest caliber music with inspired preaching and collegial youthfulness. I’m looking forward to an upcoming concert in October 2019 where I’m performing Duruflé’s Requiem (organ-only) and Kodaly’s Missa Brevis. And later that month, turning 30!

Website: www.kevinwneel.com.

Jessica Park

Jessica Park is a native of Saint Paul, Minnesota, and is the chapel organist and assistant liturgical musician at the Chapel of Saint Thomas Aquinas of the University of Saint Thomas, Saint Paul, Minnesota, where she is the principal musician of the chapel and director of the Schola Cantorum. She received the Doctor of Musical Arts degree in organ performance from the University of Minnesota—Twin Cities, where she studied with Dean Billmeyer. Jessica received the Master of Music degree in Historical Performance and Bachelor of Music degree in Organ Performance at Oberlin Conservatory of Music, Oberlin, Ohio, where she studied organ with James David Christie, Jonathan Moyer, Olivier Latry, and Marie-Louise Langlais, and harpsichord and continuo with Webb Wiggins. She received first prize at the 2013 American Guild of Organists/Quimby Competition for Young Organists (Region VI) and performed as a “Rising Star” at the 2014 American Guild of Organists national convention in Boston, Massachusetts. She was the featured organist for the inaugural 2014 Twin Cities Early Music Festival and was also a performer at the 2017 Organ Historical Society Convention held in Minneapolis. Her performances have been broadcast on American Public Media’s Pipedreams.

An interesting fact: I run my own photography business as a specialist in portrait photography, and I like to paint on canvases and hang them around my place. I have not mastered the Bob Ross style yet, but I hope I can someday.

Proudest achievement: I am proud of my master’s degree harpsichord recital in 2014. I loved the music I was playing, and I remember being fully focused and enjoying the music. After the recital, I listened to the recording and was actually very pleased with my playing (which is rare)! It really was one of my happiest moments as a student, and I still love the harpsichord.

Career aspirations and goals: I would like to continue performing as a recitalist, playing in the church, and in the future, I would like to teach organ and harpsichord.

Jordan Prescott

Heralded by The Baltimore Sun as a “rising organ star,” Jordan Prescott has established himself as one of the leading organists, church musicians, and directors of his generation. A native of Greenville, North Carolina, Jordan holds the Bachelor of Music degree in organ and sacred music from East Carolina University, Greenville, North Carolina. While at East Carolina, Jordan spent two years as organ scholar of Duke University Chapel in Durham, North Carolina. He is now pursuing a Master of Music degree in organ performance at the Peabody Conservatory where he studies with John Walker. Jordan formerly studied with Andrew Scanlon and Christopher Jacobson. In 2018, Jordan won first prize in the 16th International Organ Competition at West Chester University. He was a 2015 E. Power Biggs Fellow with the Organ Historical Society and currently serves as the Mid-Atlantic Chair for the American Guild of Organists Young Organists. Jordan has research set for future publication in The American Organist, and his performances have been featured on WBJC radio. Jordan is in his seventh season as associate musical director of The Lost Colony, America’s longest-running outdoor drama. Under his direction, The Lost Colony Choir has risen to critical acclaim and was featured as part of the Sing Across America campaign honoring the centennial of the National Parks Service.

An interesting fact: I am a distance runner and currently training for the Baltimore Marathon.

Proudest achievement: I am proudest of the collegial relationships that I have with other organists and my colleagues in the broader music profession and grateful for the network of support and collaboration that we have created.

Career aspirations and goals: I hope to follow in the footsteps of my teachers in developing a career that includes church music, teaching, and performing—in that order. Church music allows me to actively practice my faith and glorify God in thanksgiving for the gifts he has given me as well as enhance the spiritual and liturgical lives of the parishioners I am called to serve. Through teaching I will pass on the knowledge, passion, and kindness given to me by the mentors in my own life. Lastly, performing affords me the opportunity to share the music that I connect with and to do my part in the preservation of the incredible repertoire to which we have all been entrusted.

Website: www.jordanprescott.com.

Alexandria Smith

Alexandria Smith is a pipe organ technician currently employed at John-Paul Buzard Pipe Organ Builders. She has passionately trained as a musician since a young age, beginning with piano before starting oboe. Her journey as an instrument technician began while she was a freshman in college.

In spring 2017 through winter 2018, Alexandria studied organ with Joby Bell and was awarded the Wallace Organ Scholarship. Alexandria received the E. Power Biggs Fellowship of the Organ Historical Society in 2018, deepening her love of historic organs. She will graduate from Appalachian State University with a Bachelors in Music Industry degree: merchandising and manufacturing, with a minor in general business in May 2019. Alexandria spent two summers as an intern at Buzard before beginning full-time work in January 2019. She finds maintaining instruments and keeping the builders’ original style as alive as possible extremely rewarding. Her work lies mostly in late nineteenth- and twentieth-century organs.

An interesting fact: My primary instrument in college was oboe, English horn, and Baroque oboe.

Proudest achievement: Joining the service department at Buzard Organs. It is a well-rounded team, and everyone has so much knowledge to share and pass on, and I get to work on so many rewarding projects.

Career aspirations and goals: To manage a pipe organ company and to continue to grow my knowledge as much as possible on the instrument.

Emily Solomon

Emily Solomon is currently pursuing a Doctor of Musical Arts degree in sacred music from the University of Michigan, Ann Arbor. Her prior degrees include dual Master of Music degrees in early keyboard instruments and sacred music from the University of Michigan and a Master of Arts in music research from Western Michigan University with a thesis on Johann Walter’s Geistliches Gesangbüchlein. Emily is the executive director for the Academy of Early Music in Ann Arbor and cantor of Zion Evangelical Lutheran Church of Detroit, Michigan. She is also a continuing visiting artist in harpsichord at Western Michigan University. In May 2018, Emily was invited to perform on the Nordic Historical Keyboard Festival in Kuopio, Finland. She toured Germany, Poland, and the Czech Republic as the organist for the Concordia University Ann Arbor choir in May 2017. A proud Michigan native, Emily is a Certified Tourism Ambassador™ for Washtenaw County and serves on the board of the Soo Locks Visitors Association in the Upper Peninsula.

An interesting fact: I love Great Lakes freighters! I’m frequently involved with maritime activity in the Upper Peninsula and have been a long-time member of the American Society for Marine Artists.

Proudest achievement: When I began organ lessons at the age of 19, I had no idea that I would go on to earn advanced degrees in this field. I’m both proud of and humbled by what I have been able to accomplish in the last nine years.

Career aspirations and goals: I hope to continue my work in church music, performing arts management, and early music while also becoming an effective and influential pedagogue.

Website: www.emilysolomon.com.

Mitchell Stecker

Mitchell Stecker is director of chapel music and carillonneur at The Citadel, Charleston, South Carolina. He is an alumnus of the University of Florida (Bachelor of Music and Bachelor of Arts in linguistics, 2014), studying principally with Laura Ellis. In 2015, Mitchell spent six months at the Royal Carillon School (Mechelen, Belgium) before returning to UF to pursue the Master of Music (musicology), which he will receive in May of this year. Prior to his current role, Mitchell served as carillon fellow to Geert D’hollander at Bok Tower Gardens, Lake Wales, Florida, from 2017 to 2018.

Mitchell is also an active composer, with titles published by the Guild of Carillonneurs in North America and American Carillon Musical Editions, and with several commissions in progress. His scholarly interests include shape-note music, campanological topics, and the music of Peter Benoit and the Flemish Romantic. He is an active member of the GCNA, serving as the guild’s corresponding secretary since 2017; in 2016, he was awarded the guild’s Barnes Scholarship to study Roy Hamlin Johnson’s monumental Carillon Book for the Liturgical Year and its relation to Bach’s Orgelbüchlein. In his free time, Mitchell is an avid fasola singer, enjoys studying languages, and is passionate about good food and drink.

An interesting fact: In 2011, I took part in the “largest carillon recital in history.” Designed to commemorate the seventy-fifth congress of the Guild of Carillonneurs in North America, a novelty concert program was presented in which seventy-five individual performers all shared an hour-long recital program.

Proudest achievement: As a freshman at the University of Florida, I originally declared a major in engineering, with no intention of studying music. I had the occasion to re-evaluate my purpose and realized that my calling was elsewhere. The simple fact of being a church musician is a great source of pride for me. I find the work of leading God’s people in praise to be tremendously fulfilling and am proud that such a significant responsibility falls to me.

Career aspirations and goals: I hope to serve as a church musician in whatever capacity I am best suited for, for as long as I can. Additionally, I aspire to continue to grow as a scholar and eventually seek a doctoral degree in musicology. Avocationally, I am in the midst of compiling several new compilations of fasola music and hope to see these offerings find a place within the shape-note singing community.

Grant Wareham

A Dayton, Ohio, native, Grant Wareham began organ studies with Jerry Taylor in 2007. He earned his Bachelor of Music degree at Rice University’s Shepherd School of Music, Houston, Texas, where he studied with Ken Cowan, graduating cum laude and with distinction in research and creative work. While at Rice, Grant served as Moseley Memorial Organ Scholar and assistant organist at Saint Thomas Episcopal Church, Houston, and as associate organist at Palmer Memorial Episcopal Church, Houston, where he worked with music director Brady Knapp and artist-in-residence and organist Ken Cowan.

Winner of both the First and Audience prizes at the 2017 Albert Schweitzer Organ Competition in Hartford, Connecticut, Grant was also a featured performer at the 62nd annual convention of the Organ Historical Society in Saint Paul, Minnesota. This June, he will compete in the 2019 Longwood International Organ Competition at Longwood Gardens in Kennett Square, Pennsylvania.

Grant is currently pursuing his Master of Music degree at the Yale University Institute of Sacred Music and School of Music, New Haven, Connecticut, where he studies organ with Thomas Murray. He also serves as organ scholar at Christ Church, New Haven, one of America’s renowned Anglo-Catholic parishes, where he works alongside choirmaster Nathaniel Adam and organist and artist-in-residence Thomas Murray.

An interesting fact: I am an avid distance runner and completed two half-marathons in 2018.

Proudest achievement: Winning the first and audience prizes at the 2017 Schweitzer Competition, then playing the Fauré Requiem three days later with the University of Saint Thomas Singers under the direction of Brady Knapp.

Career aspirations and goals: I firmly believe in a very strong future for the organ, and every organist who feels this way has a duty to train and nurture successive generations in
the art of organ playing. Therefore, I want to teach at the collegiate level to pass on the incredible legacies that all of my teachers have given to me. I greatly enjoy serving in churches as a source of professional and personal fulfillment and would love be employed at a church with a vibrant music tradition. I also love learning new instruments and hope to have an active performing career.

Susan Palo Cherwien

Susan Louise Palo Cherwien died December 28, 2021. Born May 4, 1953, in Ashtabula, Ohio, she was active in music in school and at Zion Lutheran Church (Finnish-American), Lutheran Church–Missouri Synod. Her undergraduate degree in church music and voice was earned from Wittenberg University, Springfield, Ohio, in 1975. Her junior year was spent at the Berlin Church Music School, Spandau, Germany. After graduating from Wittenberg, she returned to Berlin to complete a graduate degree at the Berlin Conservatory of Music. She was active in the American Lutheran Church in Berlin, a mission church of the Lutheran Church in America (now part of the Evangelical Lutheran Church in America).

It was through this church in Berlin that Susan Palo met David Cherwien, who came in 1979 to study at the Berlin Church Music School. They returned to the United States in 1981 and were married on August 8 at Central Lutheran Church, Minneapolis, Minnesota. Two weeks later they moved to Seattle where David served at First Lutheran Church of Richmond Beach. Two sons were born, Jeremiah in 1983 and Benjamin in 1986. In 1987 the family moved to the Chicago area for David to serve at St. Luke’s Evangelical Lutheran Church of Park Ridge, Illinois. During these years, Susan earned a master’s degree from Mundelein University and began her career as a writer. Since 1990 the family has lived in St. Louis Park, Minnesota, and has been a part of the community at Mount Olive Lutheran Church, Minneapolis, where Susan served in many capacities as volunteer, sacristan, and soloist.

As a poet, Susan Cherwien wrote extensively, especially in two areas: hymn texts and reflections for hymn festivals, published by Augsburg Fortress and MorningStar Music Publishers. Her hymns are included in hymnals of many denominations, including Evangelical Lutheran Book of Worship and its newest supplement hymnal, All Creation Sings.

Susan Louise Palo Cherwien is survived by her husband, David; sons and daughters-in-law, Jeremiah and Karen and their children Hannah and James Cherwien in Batesville, Arkansas; Benjamin and Angel and their daughter Gabriella Hull Cherwien in Blaine, Minnesota; brother John Palo (Freddie) of Lenexa, Kansas; and sister Nancy Bukowski of Sacramento, California. A funeral service was held on December 31, 2021, at Mount Olive Lutheran Church. Memorials may be directed to Mount Olive Lutheran Church debt reduction fund (mountolivechurch.org) or National Lutheran Choir (nlca.com).

Merrill Nathaniel (“Jeff”) Davis III

Merrill Nathaniel (“Jeff”) Davis III, 80, died October 16, 2021, in Rochester, Minnesota. Born February 13, 1941, in Chicago, Illinois, he lived most of his childhood and teen years in La Crosse, Wisconsin. He was an active organist while still in grade school, and at age 15 was dean of the La Crosse area chapter of the American Guild of Organists. Davis earned his bachelor’s degree at the University of Wisconsin, La Crosse, and studied organ privately with Arthur B. Jennings, Jr. He completed his Master of Music degree at Southern Methodist University, Dallas, Texas, as a student of Robert T. Anderson. Additional studies and coaching were with Willard Irving Nevins, Gerald A. Bales, Arthur Poister, and Heinrich Fleischer.

Davis served as musician for various congregations, including First Congregational Church, La Crosse, Wisconsin; St. Clement’s Episcopal Church, St. Paul Church, Zumbro Lutheran Church, First Unitarian Universalist Church, and the Congregational (United Church of Christ) Church, all in Rochester, Minnesota. He was a frequent guest organist at Seventeenth Church of Christ, Scientist, Chicago, Illinois. Davis concertized widely and was known for his skills as an improviser. In 1974, he was one of four finalists at the International Organ Improvisation Competition at St. Bavo Church, Haarlem, the Netherlands, and the first American to be invited to compete there. He was an active member of the Southeast Minnesota AGO Chapter.

Davis was also involved in the pipe organ industry as a sales representative and freelance consultant. The firms for which Davis worked included the Aeolian-Skinner Organ Company, Rodgers Instruments, and Rieger-Kloss of Krnov, Czech Republic. He also consulted on behalf of other companies, in particular Hendrickson Organ Company, St. Peter, Minnesota. He also was involved as a personal financial advisor, working for IDS.

Merrill Nathaniel Davis III is survived by two sons and two sisters-in-law. He was preceded in death by his parents, a brother, a sister, and by his first wife, Jane Schleiter Davis, and his second wife, June Fiksdal Davis. A memorial concert is planned for February 12 at the Congregational Church, Rochester, Minnesota.

Richard Stanley Houghten

Richard Stanley Houghten, 78, died December 29, 2021, from complications following heart surgery. Born October 7, 1943, in Detroit, Michigan, he was introduced to the organ partly from exposure to the Barton organ at Ann Arbor’s Michigan Theatre, and partly at an organbuilding class taught by Robert Noehren at the University of Michigan, where he was studying psychology. He eventually apprenticed to Noehren as an organbuilder, as did classmate Jerroll Adams; Adams and Houghten would soon be sharing a barn-workshop in Milan, Michigan, and regularly collaborating.

A conscientious and well-rounded organbuilder, Richard became best known as a specialist in consoles and electrical systems. Early in his career he worked for Solid State Logic, eventually becoming president and board chairman. In this role he was central to the industry’s adoption of solid-state technology, particularly in the 1970s and 1980s when such equipment was still novel. He was further central in evolving multilevel combination actions and other advanced console aids. By 1995, he was fully independent of SSL, undertaking projects and occasional organbuilding. From 1989 he also acted as North American representative for the German supplyhouse/organbuilder Aug. Laukhuff.

For Houghten, demystifying solid-state technology was religion. He not only sold early systems but installed them, where, on site, he was intent on showing local technicians how to diagnose and service the new equipment. The reliable results of these early projects earned him a high reputation. Projects readily came his way, often without competition, and his client list over 57 years reads as impressively as any could. In the last 15 years alone, St. Paul’s School, Concord, New Hampshire; Duke University, Durham, North Carolina; Harvard University, Cambridge, Massachusetts; Calvary Church, Memphis, Tennessee; the Community of Jesus, Orleans, Massachusetts; and Trinity Church, Boston, Massachusetts, sought his work. In turn, Richard regularly collaborated with
J. Zamberlan & Co. for woodworking and his trusted affiliate Vladimir Vaculik, whose wiring had all the Houghten trademark elegance.

Houghten was equally active as a subcontractor, working largely in the background to builders wanting clear systems design coupled to immaculate installation and wiring. The relationships he forged with those shops, together with his technical mastery and reassuring demeanor, meant that it was often he, not the electronics manufacturer, who would be called in a crisis. “Is there smoke? Good. Next question . . . .”

Throughout his career, Houghten retained connections to the University of Michigan. During Jerroll Adams’s long tenure as organ curator there, the Houghten team renovated consoles for many campus organs, including the large four-manual at Hill Auditorium. The University link was further strengthened through a steady stream of organ students who also served as housemates in the Houghten condominium, tending to the cats and technology Richard gathered there.

The funeral for Richard Stanley Houghten was held January 12 at St. Paul’s Episcopal Cathedral, Detroit. A broader celebration of his life is being scheduled immediately preceding the 2022 Atlantic City Convention of the American Institute of Organbuilders, with which Houghten was centrally active and at whose regular October gatherings he celebrated a half-century of his own birthdays. That same community remembers him as an uncommonly generous colleague, ready to share knowledge, solve a problem, or make something as good as it could be for the benefit of all organbuilding.

—Jonathan Ambrosino, Arlington, Massachusetts

Marilyn Kay Stulken Rench

Marilyn Kay Stulken Rench, 80, organist, teacher, recitalist, author, and genealogist, died December 28, 2021, in Franklin, Wisconsin. She was born August 13, 1941, in Hastings, Nebraska, and studied organ and church music at Hastings College in Hastings, where she earned a Bachelor of Arts degree in 1963. During this time, she had several piano and organ students and from 1962–1965 served as organist and program director at All Faiths Chapel, Ingleside, Nebraska. At Eastman School of Music, Rochester, New York, she studied organ performance and church music, earning a Master of Music degree in 1967 and a Doctor of Musical Arts degree in 1975. One of her positions while in Rochester was as a sewing therapist at Strong Memorial Hospital.

Stulken Rench held a number of church positions, including organist and choir director at St. Paul’s Lutheran Church, Pittsford, New York, 1966–1973; organist at St. Mark’s Lutheran Church, Cedar Rapids, Iowa, 1975–1979; director of music at Trinity Lutheran Church, Kenosha, Wisconsin, 1979–1985; and organist at St. Luke’s Episcopal Church, Racine, Wisconsin, from 1986 to the time of her death. In addition, she taught at Coe College, Cedar Rapids, Iowa; the University of Iowa, Iowa City; Carthage College, Kenosha; University of Wisconsin-Parkside, Kenosha; and Concordia University Wisconsin, Mequon.

On December 27, 1984, in Omaha, Nebraska, Marilyn Stulken married Thomas R. Rench, a pipe organ builder. Marilyn often played programs on instruments that Tom had built or restored. As a lecturer and organ recitalist, she appeared throughout the United States and Canada, including ten recitals for national conventions of the Organ Historical Society. After Tom installed a pipe organ in the family room of their home, the instrument was used for practicing and teaching. When her multiple sclerosis precluded her from playing the pedals, Tom engineered the keyboard at St. Luke’s so that a note played by her left hand could sound that same note on the pedalboard.

Stulken Rench is the author of the Hymnal Companion to the Lutheran Book of Worship (1981) and An Introduction to Repertoire and Registration for the Small Organ (1995), and coauthor with Catherine Salika of Hymnal Companion to Worship, Third Edition (1998). She was one of three contributors who assisted in the preparation of historical notes on the hymns in The New Century Hymnal (1995). With Martin A. Seltz and others, she compiled Indexes for Worship Planning (1996), and with James R. Sydnor and Bert Polman, she edited Amazing Grace: Hymn Texts for Devotional Use (1994). She contributed an article, “Hymnody from German, Scandinavian and Finnish Sources,” to The New Century Hymnal Companion (1998), and “Hospital Hymnody as Transition Hymnody” to We’ll Shout and Sing Hosanna: Essays on Church Music in Honor of William J. Reynolds (1998). She is the author of With One Voice Reference Companion (2000) and authored numerous articles and reviews for musical journals. Stulken Rench was active in the American Guild of Organists, the Organ Historical Society, the Hymn Society of America, and, for a time, was the worship representative on the Southport District Cabinet of the Wisconsin-Upper Michigan Synod of the LCA (Lutheran Church in America).

Marilyn Kay Stulken Rench was predeceased by her husband, Thomas R. Rench, and a stepson, Evan Rench. (For an obituary for Thomas R. Rench, see the January 2016 issue, p. 8). She is survived by her stepchildren Alan (Mary) Rench, Eric (Bobbie) Rench, and Kari (Jeff) Eschmann; seven grandchildren and seven great-grandchildren; as well as two sisters and a brother. A memorial service will be held in the spring. Memorial gifts may be made to St. Luke’s Episcopal Church, 614 Main Street, Racine, Wisconsin 53403.

The Diapason Staff

The Diapason’s fifth “20 Under 30” selections came from a large field of nominations. The nominees were evaluated based on information provided in the nominations; we selected only from those who had been nominated. We looked for evidence of such things as career advancement, technical skills, and creativity and innovation; we considered a nominee’s awards and competition prizes, publications and compositions, and significant positions in the mix. Our selections were not limited to organists but reflect the breadth of our editorial scope, which includes the organ, harpsichord and clavichord, carillon, church music, and organ and harpsichord building. Here we present the winners’ backgrounds and accomplishments, and then have them tell us something interesting about themselves and their achievements, goals, and aspirations.

Nominations will again open for 20 Under 30 in December 2022 for our Class of 2023. Please carefully consider those you may know that deserve this honor and begin to take notes for your nomination. We can only honor those who are nominated.

The Associated Pipe Organ Builders of America (APOBA) is graciously providing a one-year subscription to our 20 Under 30 Class of 2021.

Amos Burch

Amos Burch was born in central Illinois, homeschooled, and from a young age studied piano. Throughout high school, he spent summers in his grandfather’s workshop, learning woodworking from him, an excellent furniture maker. Around this same time Amos developed a love for concert music, especially Bach’s keyboard works and cantatas. In 2010, he attended a recital at the Indiana Landmarks Center, Indianapolis, featuring a historic Sanborn organ, recently renewed by Goulding & Wood. At age 16, it did not cross his mind that he would join that same company nearly a decade later.

In 2013 he moved to Phoenix and studied guitar building and repair at the Roberto-Venn School of Luthiery. After graduating, Amos moved back to Indianapolis and worked as a guitar repair specialist and also built instruments in his free time. Later moving on to a job as a custom cabinetmaker, he worked first in Cincinnati and finally at Kline Cabinetmakers in Greenfield, Indiana. After a few years there, he rediscovered Goulding & Wood and applied for a job immediately. He was hired in 2019, and his career search was complete. A love of the keyboard and woodworking finally married, as he became a pipe organ builder. He is continually motivated to push his skills and expand his knowledge of both woodworking and pipe organs by the experienced crew at Goulding & Wood.

An interesting fact: Besides music and woodworking, my greatest interest is art, particularly Japanese and American tattoo art. I enjoy collecting paintings and prints from artists across the world, and my apartment looks a bit like a museum because of it.

Proudest achievement: My proudest accomplishment to date is being a member of the Goulding & Wood team, and more specifically, having a part in building and installing our Opus 52 organ for Saint John’s Cathedral in Knoxville Tennessee. I had to continually remind myself that it was reality and not a dream to be working on such a beautiful instrument.

Career aspirations and goals: It is my goal to continue to absorb as much knowledge and experience as possible in the organ shop. Woodworking is my passion, and I can’t think of a more than incredible application of the craft than to be a pipe organ builder.

Daniel Chang

Daniel Chang is a Doctor of Musical Arts degree candidate at the Eastman School of Music, Rochester, New York, in the studio of David Higgs. He began his music studies at the San Francisco Conservatory of Music’s Preparatory Department where he studied composition with Michael Kaulkin and piano with June Choi Oh. He continued his education at the San Francisco Conservatory for a Bachelor of Musical Arts degree in composition, studying composition with David Conte and piano with Alla Gladysheva. Daniel served as organ scholar at Saint Dominic’s Catholic Church in San Francisco under Simon Berry. At Eastman, where he has earned his Master of Music degree, Daniel was awarded the Gerald Barnes Prize in 2017 and the Cochran Prize in 2020 for excellence in organ performance. Daniel was awarded third prize in the 2018 National Young Artists’ Competition in Organ Performance (NYACOP), sponsored by the American Guild of Organists, and was a semi-finalist in the 2020 NYACOP. Daniel is director of music at Saint John’s Episcopal Church in Canandaigua, New York.

An interesting fact: As a teenager I had to learn the Ballade in G Minor by Chopin by ear because my reading skills were so bad.

Proudest achievement: I am proudest of being the first person in my family to pursue a doctorate.

Career aspirations and goals: Career-wise I would like to teach, play for the church, compose, and perform. A personal goal of mine is to reach a point in my career where I can teach students that cannot afford lessons for free.

Daniel Colaner

A sixteen-year-old native of Akron, Ohio, Daniel Colaner captured international media attention at the age of twelve with his same-day performances on piano at Carnegie Hall and on organ at Saint Patrick’s Cathedral in New York City. Since then, his talents have been showcased on ABC World News Tonight, Good Morning America, The Harry (Connick Jr.) Show, and the BBC World Service Newsday. As a recipient of the Jack Kent Cooke Young Artist Award, Daniel was featured on the NPR radio show From the Top (Show #377), performing “Jupiter” from Gustav Holst’s The Planets. He is a 2021 National YoungArts Winner in organ/classical music and was the first prize and audience prize winner in the Sursa American Organ Competition (high school division) in 2019.

Earlier this year, Daniel premiered Variations on Doxology, a new work for organ and orchestra, with the American Pops Orchestra. His performance will be featured in One Voice: The Songs We Share, which will air nationally on PBS. Daniel studies organ with David Higgs of the Eastman School of Music and piano with Sean Schulze at the Cleveland Institute of Music, where he is a scholarship student in the pre-college program and an avid chamber musician. He currently serves as organ scholar at Cleveland’s Trinity Episcopal Cathedral under Todd Wilson.

An interesting fact: First exposed to music as cognitive therapy after being diagnosed with stage IV cancer as an infant.

Proudest achievement: Promoting the organ and the study of classical music on television and radio, in addition to helping to raise thousands of dollars for music education and music therapy for a variety of non-profit organizations.

Career aspirations and goals: A versatile career as a solo and collaborative musician who engages and enlightens audiences of all ages.

Website: www.danielcolaner.com.

Michael Delfín

Praised for “beautiful performances of great warmth” (Classical Voice of North Carolina), Michael Delfín is a versatile performer of historical keyboard instruments and the modern piano. Michael is the recipient of the 2018 Historical Keyboard Society of North America Bechtel/Clinkscale Scholarship and 2017 Catacoustic Consort Early Music Grant. He has performed for the Historical Keyboard Society of North America and the Central California Baroque Festival and has given lectures on historical performance topics for Early Music America, HKSNA, and the Case Western Reserve University Music Department. He is artistic director of Seven Hills Baroque in Cincinnati and has taught figured bass and improvisation at the University of Cincinnati College-Conservatory of Music. Michael has attended the American Bach Soloists Academy and the University of Michigan Early Keyboard Institute and performed in masterclasses for Richard Egarr, Joseph Gascho, Corey Jamason, Edward Parmentier, and Pamela Ruiter-Feenstra.

Michael is now pursuing doctoral studies in both piano and harpsichord at the University of Cincinnati College-Conservatory of Music. He previously studied piano at CCM, San Francisco Conservatory, and Peabody Conservatory, as well as history at Johns Hopkins University. His mentors include Awadagin Pratt, Yoshikazu Nagai, Boris Slutsky, Michael Unger, and Carol Oaks.

An interesting fact: I enjoy cooking the Latin American food of my family’s heritage.

Proudest achievement: My wife’s hand.

Career aspirations and goals: I look forward to blending historical and modern performance as a solo and collaborative performer, Baroque ensemble director, and college educator.

Website: www.michaeldelfin.com.

Samuel Gaskin

Samuel Gaskin completed graduate studies in organ performance from the University of North Texas (Master of Music, 2018) with Dr. Jesse Eschbach. Samuel has studied with notable organist-improvisers such as Thierry Escaich, Baptiste-Florian Marle-Ouvrard, Franz Danksagmüller, and Thomas Ospital. As a performer, he is interested in music of all kinds, playing jazz piano in ensembles throughout his graduate school studies and harpsichord with the San Antonio Symphony under the baton of Jeannette Sorell (Apollo’s Fire). He is also active as a collaborative pianist with both instrumentalists and vocalists. In 2013, Samuel was a finalist in the Mikael Tariverdiev International Organ Competition held in Kaliningrad, Russia, and in 2016 he won first prize in the University of Michigan International Organ Improvisation Competition. Samuel began composition studies with William James Ross, S. Andrew Lloyd, and finally Ethan Wickman. Transcribing served as an important purpose to furthering his interest in composition, first focused on improvised works for organ, then on jazz improvisations, including tracks from the album Equilibrium by Ben Monder (guitar) and Kristjan Randalu (piano), for future publication by the Terentyev Music Publishing Company. He is interested in exploring the sometimes-contradictory relationship between improvisation and composition.

An interesting fact: I once delivered pizza to Tony Parker (the former point guard for the NBA’s San Antonio Spurs).

Proudest achievement: Carving my own niche as a musician. Leaving behind formal organ studies during my undergraduate studies led me to have a greater appreciation of the instrument. It also allowed me to experience playing in non-classical genres on the keyboard and gain appreciation for musical skills like the nuances of groove, arranging parts, and learning by ear. Later, this also led me to have a better appreciation of the nuances of legato and rubato within a musical phrase at the organ.

Career aspirations and goals: I would like to continue to develop as a collaborative musician. There is a lot of fascinating music out there, and some of the best involves playing with other musicians. Learning how to communicate and relate to other musicians is something I find personally satisfying, and besides, I think instrumental/timbral variety within a program generally resonates with listeners. I would also like to continue incorporating new music and improvisation into programs.

Instagram: samuelgskn391.

Josiah Hamill

Josiah Hamill is an organist, violinist, pianist, and church musician who is reputed for bringing passion, musicality, and virtuosity to every performance. Among other recent awards and recognitions, he won first place and the audience prize at the 2019 Sursa American Organ Competition. He was named one of twelve finalists in the 2020 Musikfest Internationale Orgelwoche Nürnberg, the final round of which was unfortunately canceled due to Covid-19. Additionally, he was runner-up in the American Guild of Organists Regional Competition for Young Organists and a finalist in the Poister Scholarship Competition in Organ Playing.

He is a rising third-year Doctor of Music degree student in organ performance at Indiana University, studying with Christopher Young. As the recipient of the prestigious Robert Baker Award, Josiah received his Master of Music degree from Yale School of Music, as well as the Certificate in Church Music Studies from the Yale Institute of Sacred Music, under the tutelage of Martin Jean. He received his Bachelor of Music degree with dual concentrations in organ and violin, graduating summa cum laude with distinctions from Lamont School of Music at the University of Denver, where he studied organ under Joseph Galema. He was Lamont’s Presser Scholar and is a lifelong member of Pi Kappa Lambda.

An interesting fact: In addition to my organ career, I also have an extensive string and symphonic background, which significantly influences my approach to the magnificence of the organ and its repertoire. One of my favorite engagements was performing the entire Tchaikovsky Violin Concerto with the Arapahoe Philharmonic Orchestra, and I have been privileged to meet and work with such illustrious musicians as Yo-Yo Ma, Midori Goto, Vadim Gluzman, and Glenn Dicterow, among others.

Proudest achievement: While every music performance and achievement has a special place in my heart, I would have to say that my proudest achievement is the Students’ Choice for Best Colloquium Presentation, which is awarded annually by the student body of the Yale Institute of Sacred Music via ballots. This was bestowed upon fellow student Laura Worden and me for our colloquium presentation, “Religious and Musical Culture in the Manzanar Incarceration Camps.” This highlighted the impact of music and religion on the Japanese American incarceration experience at Manzanar Relocation Center during World War II. My grandfather, Bruce Kaji, was an American citizen incarcerated in Manzanar before becoming a war hero, peacemaker, and community leader while living an exemplary life. He is my hero, and this presentation and academic award seemed to be a perfect posthumous homage to him and his legacy.

Career aspirations and goals: My biggest aspiration is to have a successful and active career as a concert organist, hopefully under management. Especially given the dearth of live performances due to the pandemic, I have continued to discover that my true passion is in performance. I aspire to create memorable performances for audiences of all walks of life, whether as a solo performer, collaborative musician, or church musician. It is my hope that the temporary lull in live concerts will only strengthen audience interest and participation as life continues to return to normalcy.

Website: www.josiahhamill.com.

Thomas Heidenreich

Thomas Heidenreich is a third-year Doctor of Musical Arts degree student at the University of Cincinnati’s College-Conservatory of Music studying with Dr. Michael Unger. He was organist for the world-premiere recording of Swedish composer Frederik Sixten’s St. John Passion, which will be released in 2022 by Ablaze Records. A Cincinnati native, Thomas began his musical studies at age five taking piano lessons at the CCM Preparatory Department.

From 2017–2018 he was the Association of Anglican Musicians (AAM) Gerre Hancock Organ Fellow at Trinity Episcopal Cathedral in Columbia, South Carolina. He performed at the 2019 AAM national conference in Boston. Previously, he studied with Alan Morrison at Westminster Choir College in Princeton, New Jersey, completing his Master of Music (2017) and Bachelor of Music (2016) degrees in organ performance. At Westminster, he was the 2016 winner of the Joan Lippincott Competition for Excellence in Organ Performance and a two-time Andrew J. Rider Scholar, an award recognizing the top students academically in each class. In Princeton, he served as organ scholar at Trinity Episcopal Church and, for three years, as co-director of music for The Episcopal Church at Princeton.

An interesting fact: I have played the organ in services at both Westminster Abbey and Saint Paul’s Cathedral in London. Also, when in tenth grade after only having studied the organ for a few years, I played the 2000 Gerald Woehl “Bach” organ at the Thomaskirche in Leipzig.

Proudest achievement: I am very proud of the role I played in developing the musical quality of, and depth of community in, the Lux Choir, which sings at the Episcopal Church at Princeton. Through a combination of supportive clergy, dedicated musicians, and God’s help, the choir is a great asset in worship and a strong personal blessing to all those involved and has continued to flourish in recent years.

Career aspirations and goals: I hope to pursue a career of service to the church through my work as an organist, accompanist, and choir director. I am particularly passionate about working with and/or developing an intergenerational music program that provides opportunities for children through adults to participate in choral singing at the highest levels. I know the power of the organ and its ability to move people to worship, and I want to share this with people in any church to which I am called to serve.

Alex Johnson

The campus tour guide didn’t even know the name of the instrument. All he said was that students could learn to play the bells. Alex Johnson was hooked immediately. He registered for the class his first year, fell in love, and registered every semester thereafter. This was at the University of Rochester, where Alex not only played heaps of carillon music, but also majored in physics, completed research in linguistics, learned to play gamelan and mbira, and also how to swing dance. With the world’s most prestigious competition in his sights, Alex then studied at Bok Tower Gardens as a Carillon Fellow. That contest, held every five years in Mechelen, Belgium, is the International Queen Fabiola Carillon Competition: in 2019, Alex won. He then spent a year studying at the Royal Carillon School “Jef Denyn” in the same city on a fellowship from the Belgian American Educational Foundation. In his travels, Alex has performed dozens of carillon recitals across the United States, Canada, and Europe. Alex is currently exploring yet another career option by substitute teaching kids of all ages, from kindergarten to calculus.

Interesting fact: Alex serves on the Franco Composition Committee of the Guild of Carillonneurs in North America.

Proudest accomplishment: Alex’s proudest accomplishment is winning the Queen Fabiola Competition, in which he not only won first prize overall, but also first prize for improvisation and the prize for best performance of a contemporary Belgian work.

Career aspirations and goals: Alex is considering graduate studies in music composition, carillon positions, and returning to the content of his bachelor’s career to teach high school math or physics.

James Kealey

James Kealey is associate director of music/organist at Third Presbyterian Church in Rochester, New York. There, James oversees and coordinates children’s music ministries, assists in the running of youth music, and accompanies the Chancel Choir as well as sharing service playing duties with Peter DuBois, director of music/organist. James will begin a part-time Doctor of Musical Arts degree at the Eastman School of Music in the fall of 2021.

A recent graduate of the Eastman School of Music, James obtained the Master of Music degree from the studio of Professor David Higgs. While a student, James was also music minister at Church of the Ascension, where he oversaw the senior choir and began both a youth choir and a yearly arts festival. A native Brit, James has held positions at Chester, Blackburn, Wells, and Sheffield cathedrals before moving stateside.

James has performed most recently at Westminster Abbey, England; Cathedral of Saint John the Divine, New York City; and Hereford Cathedral. Future recitals include Cathedral of Saint Philip, Atlanta, Georgia; Church of the Covenant, Cleveland, Ohio; and the Organ Historical Society convention in 2022. James was recently placed as a semifinalist in the American Guild of Organists NYACOP Competition. He is the current sub-dean for the Rochester AGO Chapter and works with several committees within the Organ Historical Society.

An interesting fact: I would like to gain my private pilot license in the coming years, although the winters in Rochester may make that a little more tricky!

Proudest achievement: I am proudest of achieving a place to study at Eastman School of Music, which has given me many opportunities and much guidance to fulfill my desire to work as a musician in the United States.

Career aspirations and goals: I hope to have a multifaceted career. Alongside my passion for church music ministry and choral music, I hope to work as a recitalist and educator in the future.

Noah Klein

Noah Klein is finishing his fourth year at the Jacobs School of Music at Indiana University, Bloomington, pursuing an organ performance degree under Dr. Janette Fishell. While at school, he is the musical intern for Tabernacle Presbyterian Church in Indianapolis, Indiana. Back home in Northfield, Minnesota, Noah plays for local churches in the area as well as for organ recital series throughout southern Minnesota. He was the winner of the Great Lakes Regional RYCO at the 2019 regional American Guild of Organists convention in Grand Rapids, Michigan. Noah also had the opportunity during the summer of 2019 to play at Trinity Church Wall Street in New York City as part of their “First Friday” series, which features undergraduate and graduate organ students from leading music conservatories across the United States and Canada. This fall he will begin his Master of Music degree at the Yale School of Music/Institute of Sacred Music.

An interesting fact: During my year abroad in South Korea after high school, I gave an impromptu organ recital in a coffee shop on a bamboo pipe organ.

Proudest achievement: The achievement I’m most proud of is winning the Great Lakes Regional RYCO because it was one of the first big competitions I’ve won, and it proved to me that all my hard work and dedication has paid off as well as encouraging me to pursue more competitions.

Career aspirations and goals: I hope to continue performing recitals and sharing my passion for the organ and its music both in the United States and abroad. Also, I hope to continue working with sacred music as an organist and music director.

Zoe (Kai Wai) Lei

An emerging Hong Kong organist, Zoe Lei is an advocate for new organ music and frequently plays twentieth- and twenty-first-century repertoires. She is currently pursuing her Doctor of Musical Arts degree in sacred music (organ) at the University of Michigan, where she studies the organ with James Kibbie, carillon with Tiffany Ng, and harpsichord and continuo with Joseph Gascho. Prior to that, she attained her master’s and bachelor’s degrees in music at the University of Toronto and Hong Kong Baptist University, respectively, and has been awarded various scholarships in Michigan, Canada, and Hong Kong.

Currently based in the United States, Zoe has performed as a recitalist in various venues and concert series in Hong Kong, Toronto, and Michigan. She has also collaborated with the Baroque Ensemble at the University of Michigan, the Contemporary Ensemble at the University of Toronto, and the Tafelmusik Baroque Summer Institute Orchestra. She is looking forward to working with Aero Quartet and IZR Organ Trio, the latter of which was set up by Zoe along with her friends Ryan Chan and Ivan Leung. This summer, the IZR Organ Trio will give recitals in Hong Kong. In addition to organ performances, Zoe now gives carillon recitals every other Thursday at the Burton Memorial Tower in Ann Arbor.

An interesting fact: When I am not practicing the organ, carillon, or harpsichord, I enjoy hanging out with friends, traveling, and doing calligraphy.

Proudest achievement: I gave my organ debut in the Hong Kong Cultural Centre’s Concert Hall in 2017, which has one of the largest pipe organs in Asia. After that, I received an interview invitation from Radio Television in Hong Kong. I always feel humbled and honored by this fantastic opportunity that was provided by my organ teacher, Miss Kin Yu Wong.

Career aspirations and goals: I will work harder in the coming years, and I am passionate about contributing more to the organ, carillon, and sacred music fields. I am currently preparing for different organ competitions, and organ and carillon recitals in the summer while doing a carillon arrangement of BWV 543i. My goal is to travel to different places to give organ and carillon concerts, especially more places in Asia, in order to promote these instruments to Asian audiences in a creative and culturally diverse way. I also hope to build a carillon in Hong Kong and introduce the carillon repertoire to Hongkongers.

Website: www.zoelei.com.

Jackson Merrill

Jackson Merrill is a graduate student of James Kibbie in organ performance at the University of Michigan. At Michigan, he was awarded the Marilyn Mason Scholarship, the Patricia Barret Ludlow Memorial Scholarship in Organ, and the Chris Schroeder Graduate Fellowship. Merrill presently works with Huw Lewis at Saint John’s Church, Detroit. Merrill came to Michigan from Hartford, Connecticut, where he was organist and director of music ministries at Trinity Church. In addition to this work, he was the choral director of Trinity Academy in Hartford and sang in various choirs at Yale University. Merrill holds the Bachelor of Music degree from Jacksonville University where he was awarded such honors as the Harvey Scholl Prize in Piano and the Excellence in Performance Award. He was also the 2016 College of Fine Arts Student of the Year. While in northeast Florida, Merrill performed occasionally with the Jacksonville Symphony Orchestra.

An interesting fact: I am originally from northeast Florida. The city of Saint Augustine is in northeast Florida, and there are wonderful organs in historic churches there along with many important monuments. The first pipe organ I ever played was the incredible Casavant organ at the Cathedral-Basilica of Saint Augustine, built in 2003. Saint Augustine is the oldest continuously inhabited European-established settlement in the contiguous United States.

Proudest achievement: I am most proud of my work for three years with the outstanding young musicians of The Choir School of Hartford at Trinity Church, Hartford, Connecticut.

Career aspirations and goals: My goal is to use my time studying with James Kibbie to become a more comprehensive organist and performer. After graduate school, I hope to continue with my work in music ministry. I have developed a specialization for urban music ministry, and I particularly love working with young singers.

YouTube channel: youtube.com/channel/UCCC2-sMGEWCq65asbD8mZCw/videos.

John J. Mitchell

John Joseph “JJ” Mitchell has a passion for organ and sacred music pedagogy. He is pursuing a Doctor of Musical Arts degree in organ performance from the University of Houston (UH) on a graduate tuition fellowship. He is the organist of Christ the Servant Lutheran Church in Houston, Texas, serves as an organist of Saint Philip Presbyterian Church, also in Houston, and is a graduate teaching assistant in the music history department at UH. He holds degrees from Westminster Choir College and the University of Notre Dame; he also studied at the Conservatoire à Rayonnement Régional de Toulouse, France. JJ has served as organist on the music staff of churches such as Christ Church Cathedral, Houston, Texas; Cathedral of Saint Thomas More, Arlington, Virginia; and the Basilica of the Sacred Heart, South Bend, Indiana. He has performed in these churches as well as at Boston Symphony Hall, the DeBartolo Performing Arts Center, and various other venues in the United States, Canada, France, and England. He is the winner of the Nanovic Grant for European Study for Professional Development and was a finalist for the Frank Huntington Beebe Grant. He has been featured on the Sounds from the Spires SiriusXM Radio program and has contributed to Vox Humana organ journal.

An interesting fact: I drive a manual transmission car as an enthusiast of Formula 1.

Proudest achievement: I have achieved some wonderful things in my life thus far, but overcoming performance anxiety and finding consistent calmness in my playing has been undoubtedly my best achievement.

Career goals and aspirations: My ideal career is to be a director of music at a cathedral where I will teach sacred music to the next generation. I also am considering work in academic positions as well.

Curtis Pavey

Curtis Pavey, originally from Highlands Ranch, Colorado, enjoys a diverse musical career as a harpsichordist, pianist, and educator. As a harpsichordist, he has performed in prestigious settings including the Oregon Bach Festival as a participant of the Berwick Academy. Peter Jacobi of the Herald Times praised Curtis as “an artist of considerable finish and even more promise” after his solo recital debut at the Bloomington Early Music Festival. His recent submission to the Jurow International Harpsichord Competition advanced him to the semifinals for the upcoming 2021 competition. Besides his performing activities, Curtis is passionate about pedagogy and has presented lectures on Baroque music and ornamentation at national conferences. In addition, he maintains a private music studio at Willis Music Kenwood in Cincinnati, Ohio. Currently completing doctoral studies at the University of Cincinnati, Curtis studies harpsichord with Dr. Michael Unger and piano with Professor James Tocco while maintaining a graduate assistantship in the secondary piano department. Curtis graduated from the master’s degree program at Indiana University’s Jacobs School of Music where majored in early music, harpsichord and piano performance. He worked with Professors Elisabeth Wright, Edward Auer, and Evelyne Brancart.

An interesting fact: I enjoy cooking and baking when I am not practicing, teaching, or studying.

Proudest achievement: I am almost done with my doctorate—I will be proudest of achieving this once it is finally complete!

Career aspirations and goals: My dream career allows me to balance my passion for teaching and performing at both the harpsichord and the piano. I hope to attain a professorship where I can teach applied lessons and courses in harpsichord, performance practice, and piano. In the future, I would like to establish my own early music ensemble. Ultimately, I hope to make a difference in my community and beyond through my teaching and performing activities.

Website: www.curtispavey.com.

Solena Rizzato

A native of Chicago, Illinois, Solena Rizzato is a shop technician at the Red River Pipe Organ Company in Norman, Oklahoma, interim organist at Wesley United Methodist Church of Oklahoma City, and a non-degree-seeking graduate student at Oklahoma City University, where they study with Dr. Melissa Plamann. Prior to their studies at OCU, Solena graduated in May of 2020 from the University of Oklahoma where they earned dual Bachelor’s degrees in organ performance and viola performance, as well as the organ technology emphasis and a history minor. In the summer of 2019, Solena pursued an internship with Messrs. Czelusniak et Dugal, Inc., of Northampton, Massachusetts, working on the restoration and maintenance of pipe organs in the New England area. As an organist, Solena began their formal studies at the age of eighteen with Dr. Adam Pajan at the University of Oklahoma, having come to the instrument with over thirteen years of experience as a violist. Because of this, Solena enjoys transcribing orchestral works for the organ. Their recent transcriptions include movements of Dvorák’s 8th Symphony, Tchaikovsky’s 6th Symphony, Stravinsky’s Firebird Suite (1919), and Gershwin’s An American in Paris. Solena’s next move will take them out of Oklahoma, where they will begin pursuing their Master of Music degree in organ performance. Solena continues to remain active as a professional violist as well, and enjoys cooking, weightlifting, and long-distance running.

An interesting fact: Prior to my studies in music, I spent several years in the culinary industry, training to be a professional chef.

Proudest achievement: This year, I successfully went through the process of applying for Master of Music degree programs in organ performance. Due to my late start as a keyboardist, this felt like a far-away dream. I am definitely most proud to represent Oklahoma City and am so thankful to all of my friends and mentors that supported me through this process.

Career aspirations and goals: Beginning at the end of last year, I had the opportunity to serve in more of a leadership role at Red River Pipe Organ Co. This experience, combined with my own experience as an adult learner of a new instrument, confirmed that I definitely want to be in a teaching role in some capacity! If I can help even one person along in their own journey, I will have considered that the highest level of success possible.

Jennifer Shin

Jennifer Shin is pursuing a Doctor of Musical Arts degree at the Eastman School of Music in the studio of David Higgs, after having completed her Master of Music degree at Eastman in 2020. She received her Bachelor of Music degree magna cum laude at the University of Michigan, where she studied with Kola Owolabi and James Kibbie. During her time in Michigan, she held the position of organ scholar at Christ Church Cranbrook in Bloomfield Hills, Michigan, and participated in the University of Michigan’s University Choir and Early Music Choir both as accompanist and singer.

Most recently, she was chosen as a semi-finalist in the 2020 National Young Artists Competition in Organ Performance hosted by the American Guild of Organists. Other competition awards include first place in the AGO/Quimby Regional Competition for Young Organists for the Seattle chapter (2015) and the San Diego chapter (2013), second place in the Regional AGO/Quimby RCYO (Region IX) in 2013, and first place in the national Rodgers Organ Competition in 2012. In 2016, she was awarded an E. Power Biggs Fellowship to attend the Organ Historical Society convention in Philadelphia. She has participated in masterclasses and coachings with Alan Morrison, James David Christie, Diane Belcher, Ann Elise Smoot, Daniel Roth, and Vincent Dubois, among others.

An interesting fact: I enjoy cooking and making desserts.

Proudest achievement: Something I am proudest of achieving this past year is starting a small studio of private piano students! Hopefully this will grow and expand into organ students soon.

Career aspirations and goals: In addition to concertizing as a solo organist, I would like to continue making music in collaboration with other musicians such as accompanying a choir or playing with other instrumentalists/singers, whether it is in a liturgical or a concert setting. I also would like to continue expanding teaching experiences to include a wider level of students from beginners to collegiate level, while, of course, playing for and directing a church music program.

Augustine Kweku Sobeng

Augustine Sobeng is a native of Shama in the Western Region of Ghana and is currently a master’s degree student in organ performance at Setnor School of Music, Syracuse University, studying with Annie Laver and Alexander Meszler. He studied medical laboratory technology as an undergraduate at Kwame Nkrumah University of Science and Technology (KNUST) in Kumasi, Ghana. Influenced by family background and musical exposure, his expressive tendencies found outlet especially in organ and choral music. He served as a conductor of the school choir in Prempeh College and organist/choirmaster for the University Choir-KNUST.

Throughout and after his undergraduate study, he worked and trained with the Harmonious Chorale-Ghana, where he was a part of several large concerts every year for seven years, serving as principal organist. Although he did not receive any formal musical education, he put himself through music theory and practical exams with the Associated Board of the Royal Schools of Music (ABRSM), earning a diploma certificate in the 2018 organ practical exam. That same year he was awarded the best keyboardist in Ghana, and the following year, received admission with a Visual and Performing Arts Fellow Scholarship to study for his Master of Music. He was a participant in the masterclass of Christa Rakich during the 2019 conference of the Organ Historical Society at the Oberlin Conservatory of Music.

An interesting fact: I have a twin brother who looks nothing like me.

Proudest achievement: Two of my proudest moments were when I won the VPA fellow scholarship for the masters’ program at Syracuse University, and when I won the best keyboardist of Ghana award in 2018.

Career aspirations and goals: Aside from becoming an astute organist of international repute, it is my goal to help raise the standard of organ playing in Ghana. In line with my ambition to institutionalize a good standard of organ music and organ playing, I aspire to establish organ faculties in the music schools of some of the country’s universities. The goal is to carve out a path toward professionalism for young organ enthusiasts in Ghana.

Facebook official page: Stine_Sobeng.

Raphael Attila Vogl

German organist Raphael Attila Vogl has taken part in various competitions, winning second prize at the “Jugend musiziert,” and in 2015 was awarded the Promotion Prize 2014 as the youngest prize winner of the Kulturkreis Freyung-Grafenau. He has also received prizes in the International Mendelssohn Organ Competition in Switzerland, the International Tariverdiev Competition in Russia, and at the Boulder Bach Festival’s World Bach Competition. Raphael studied at the Hochschule für Katholische Kirchenmusik und Musikpädagogik in Regensburg, Germany, including organ and church music with Stefan Baier and Markus Rupprecht. While studying at Hochschule, Raphael spent one year at the Franz-Liszt Academy in Budapest, Hungary, where he studied with Laszlo Fassang, and graduated from the Hochschule in 2018. Raphael made his debut at Alice Tully Hall when he performed the New York premiere of Sophia Gubaidulina’s The Rider on the White Horse at the Focus Festival at Lincoln Center in January 2020. Raphael Attila Vogl graduated from The Juilliard School of New York City in May 2020, where he studied for his master’s degree in organ performance with Paul Jacobs.

An interesting fact: I am half Hungarian and half German. I am proud to have access to both cultures, and I enjoy their differences such as in history, food, music, architecture, mentality, and traditions.

Proudest achievement: Playing recitals on the biggest cathedral organ in the world in Passau, Germany, with more than 1,300 people in the audience. That is an amazing feeling to bring joy and music into that magnificent Baroque space with that incredible and unique instrument.

Career aspirations and goals: My goal would be to become a successful concert organist performing my own transcriptions for the organ. Besides the wonderful existing literature for the organ, there are gorgeous pieces for orchestra or piano that can bring a symphonic organ much closer to the audience by a spectacular and exciting performance. I am also interested in teaching students and sharing my knowledge about the organ.

Website: raphael-vogl.de.

Destin Wernicke

Destin Wernicke grew up in Green Bay, Wisconsin, where he started playing piano and drums at an early age. He continued studying both instruments through high school and then decided to pursue music at the University of North Texas. During his jazz percussion bachelor’s degree, Destin was the drummer for the Grammy-nominated One O’Clock Lab Band and had the opportunity to work with accomplished artists such as Maria Schneider, Gary Smulyan, and Regina Carter. He also played with One O’Clock at the 2020 Jack Rudin Jazz Championship and recorded the recently released album Lab 2020. Destin is now continuing his studies at UNT by working on a graduate Artist Certificate in organ performance, studying with Dr. Jesse Eschbach.

Destin has served as the organist for Saint Barnabas Episcopal Church in Denton for the past two years, leading congregational singing along with a small but dedicated choir. In March 2020, he won first prize in the undergraduate division of the William C. Hall Pipe Organ Competition in San Antonio, earning a cash prize and the opportunity to play a recital at Saint Mark the Evangelist Catholic Church.

An interesting fact: I am also a photographer! In 2016, the Natural History Museum in London displayed a photo I took of a Galapagos sea lion in the Wildlife Photographer of the Year gallery, and I earned an honorable mention in the competition.

Proudest achievement: My proudest achievement so far is playing my first organ recital at UNT while an undergraduate jazz percussion major. I played a varied program of works by Clérambault, Bach, and Jean Guillou.

Career aspirations and goals: Over the past year, I have been preparing a program including Jeanne Demessieux’s Six Etudes, which I will perform at the Marcel Dupré conference held in North Texas this October. Following the conference, I plan to take this program to audiences across the country, playing concerts in Texas, the Midwest, and New York. Long-term, I am hoping to continue working as a church organist and keep learning challenging, seldom-played repertoire that I can perform and compete with at a high level.

Collin Whitfield

Hailed by Mason Bates as “a fine citizen musician,” Collin Whitfield is an award-winning composer, pianist, and organist based in Michigan. He has been the recipient of the James Highsmith Award for new orchestral music, first prize in the American Choral Directors Association Choral Composition Competition through Central Michigan University, and first prize in the Biennial Art Song Composition Competition at the San Francisco Conservatory. His music has been praised by librettist Nicholas Giardini as “beautiful, rapturous, and unabashedly romantic, without any of the failings that so often accompany these qualities.”

Collin Whitfield is an active recitalist and frequently collaborates with his wife, soprano Erin Whitfield. He was awarded the 2017–2018 Tacoma American Guild of Organists Scholarship and the 2020 Kent S. Dennis Memorial Scholarship. Since 2018, Collin has served as director of music ministries at First Presbyterian Church of Saginaw, Michigan, where he directs the chancel choir, guides the concert series, and accompanies the congregation on their 70-rank Casavant Frères, Limitée, Opus 3660 organ. Collin Whitfield holds a Master of Music degree in organ performance from Central Michigan University and a Bachelor of Music degree in composition from the San Francisco Conservatory of Music. His primary teachers have included Mason Bates, David Conte, Steven Egler, and Paul Tegels.

An interesting fact: I like to go on long hikes and long drives, especially exploring beautiful sites in Northern Michigan and the Upper Peninsula.

Proudest achievement: Winning the James Highsmith Competition at San Francisco Conservatory of Music and the unique opportunity to hear an orchestra perform my music.

Career aspirations and goals: I plan to pursue a doctorate in music and hope to teach collegiately in the future. I also want to continue my church music work, remain active as a recitalist, and expand my presence as a composer.

Website: collinwhitfield.com.

Larry Palmer

Giving thanks from A to Z

As I near my eighty-first birthday on November 13, I have been thinking nostalgically about the palindromic symmetry of 18 and 81 and wondering how I could write something of interest using those numbers. Searching through many composer biographies, I found only one major figure who was born in 1881 (Béla Bartók) and another who died in that year (Jacques-Nicolas Lemmens), so I decided instead to give thanks to so many friends, mentors, and helpful teachers who have made both the personal and professional experiences not only possible, but most often awesome and exciting. Immediately, although in reversed alphabetical order, the first two are women of great talent and extraordinary teaching abilities who began the template: my first outstanding organ teacher, Mabel Zehner, and the person who kindled my love for the harpsichord, Isolde Ahlgrimm.

In the prelude chapter to my 2006 book Letters from Salzburg, I wrote the story of my childhood insistence on studying piano while my Presbyterian minister father was serving as pastor of a small church in Corsica, Pennsylvania. It took the hiring of a neighbor girl to give me several lessons before my parents gave in and enrolled me in the piano studio of Erma Bowdish in nearby Brookville. In the chapter I continued:

A reed organ at church, a clarinet at school, a move to Crestline in central Ohio where the church had an 1890s Jesse Woodbury pipe organ; a change from clarinet to oboe, continuing piano lessons with my high school music teacher Lucille Pennington—all this dovetailed with a high school career that included a switch to the oboe, participation in orchestra, concert and marching bands as well as choir, many student government positions, three years as class president, and graduation in 1956 as the class valedictorian. Much of the academic success was due to the superb faculty of Crestline High School. I learned so much from two maiden ladies, Elizabeth O’Leary (penmanship and English composition) and Faye Griebling (Latin), the latter going so far as to agree to tutor another student and me in a two-person third-year class, which helped to broaden our foreign language experience since the school did not offer any contemporary European linguistic study.

During that final year in high school, at last in possession of a driver’s license, it became possible for this young musician to study organ with an expert teacher, Mabel Zehner of Ashland College, thirty miles away. Her kind tutelage prepared the young student for admission to Oberlin Conservatory and its large organ department. For two years I worked with a strict, authoritarian teacher, Leo Holden, who required me to develop a solid technique that would serve quite well. I sang in the 180-voice choir of First Church in Oberlin (Congregational), conducted by Oberlin’s director of choral activities, Robert Fountain. I learned much from Oberlin’s distinguished faculty, especially from virtuoso theory teacher Robert Melcher and from Oberlin graduate and visiting professor of music history, Janet Knapp. And, after two years “with Holden,” I requested a change of teachers and finally joined the studio of Fenner Douglass, whose knowledge of historical styles and repertoire and advocacy of mechanical-action organs meshed more nearly with my own interests.

Another hallmark of my life seems to be the good fortune of being at the right place at the right time: perhaps that was why I was so anxious to make my debut that I surprised both mother and father by arriving six weeks ahead of schedule (born on a Sunday morning, I often wonder what my dad’s sermon must have been like that day!). Calvin Hampton and I were the youngest members of the organ department’s 1956 incoming freshman class, and I also wondered if we were so compatible because, had I waited until the later date, we would probably have been born on the same day, December 31.

At any rate eighty-eight members of the music department were informed at the end of that first Oberlin year that we would all be studying for our entire junior year at the Salzburg Mozarteum. No third-year music classes would be offered at the Conservatory during the 1958–1959 academic year. And so it was that letter number 17 from Austria informed my parents:

18 November 1958

This morning I first met Frau Isolde Ahlgrimm, a person who will be, I think, quite important in my musical life [an understatement if ever there was one!]. Frau Ahlgrimm is my new harpsichord teacher, and here, as with Mr. Douglass last summer, I have a teacher in whom I can fully believe and whose musical ideas I can fully respect. She is absolutely fabulous! . . . I had my first lesson from 4 till 5:30 this afternoon, and we are beginning with some very early English music and through this will study English ornamentation, then go on to early German and early French music. Since I have always wanted to study harpsichord [since first hearing Wanda Landowska’s first vinyl recordings that I was permitted to borrow from the Crestline Public Library, generously allowed by my dear friend and supporter, the town librarian Marie Welshon, another major helper in my musical development] . . . I think it a real privilege to have such a good teacher here. She has just been hired, lives in Vienna, and comes here three days a week. She has quite a reputation in Europe, I understand.

A citizen of the world

The Salzburg year was a tremendous success for most of us. But, as I have come to realize, successes do not always please every faction. Despite a student approval rating of more than 90% during the six years of Oberlin’s “Salzburg Program” the faculty in Ohio was not so happy with the student results, and after six seasons they voted to end the program. True, we were probably not as disciplined in our memorizations, and we had less practice time and fewer facilities for practicing, but the wonderful things we learned about music and life completely changed the entire trajectory of many of our future activities. And the sheer joy of making music in rooms where our beloved composers had spent time—Oberlin, at least in the late 1950s, could not quite measure up in that department.

For my senior year back on campus I had the honor of being selected as the “roomer” in the house of Intellectual History Professor Frederick Artz. And it was particularly a good fit because I could get to my church organ job by climbing over the hedge to First Church and its early twentieth-century Skinner pipe organ. Yes, I had been offered the job of organist for Robert Fountain. Little did I know how much this would influence my first two teaching positions! But more of that later.

Most immediately to this saga I received a phone call from Professor Douglass one fall morning at church, “Would you like to audition for Eugene Selhorst from the Eastman School of Music, an institution that was about to launch a doctoral program in church music?” Of course, I said yes, especially since my father had made it clear that, after their generous support for my Oberlin years I would have to finance the rest of my education myself. Long story made short, I, along with two other Oberlin students, received the full tuition and stipend grants financed by the United States government to help develop new academic programs. Shortly after looking at a New York City possibility, Union Theological Seminary’s well-known sacred music degrees, and learning that scholarships were tiny and not easy to come by, my next three years might not only be paid for, but there it could be that money would not be a problem.

And so it was that after a glorious, if frantic, senior year on the Ohio campus I joined the wonderful ambiance of the Eastman School, which offered an additional waiver of tuition fees since I was the graduate assistant for the head of the new Master of Music/Doctor of Musical Arts church music program, M. Alfred Bichsel, a Missouri Synod Lutheran pastor, choral conductor, and linguist of exceptional intellect and extreme kindness. So followed my single year to the Master of Music with a thesis recital of works by Sweelinck, and, at Dr. Bichsel’s suggestion, the project that became my calling card to so many venues for recitals and lectures: the first-ever book-length biography of the German composer Hugo Distler, a study even mentioned in William Austin’s Norton History tome Music in the 20th Century, even before my work was published by Concordia Publishing House.

With extra resources galore, I was able to keep my promise to my parents and take them to “my” Europe for their wedding anniversary, particularly since I needed to do onsite research about my thesis subject and even got to interview the composer’s widow Waltraut Distler. Back in Germany I was able to go to Lübeck to visit the Distler Archive, and my parents were able to meet, in Passau, the builder of my first harpsichord—Kurt Sperrhake, whose small two-manual harpsichord arrived during my senior year at Oberlin (via the St. Lawrence Seaway) and was promptly ensconced in the side gallery of First Church during that year (where it was much easier to get to than its snug, just-barely-movable perch in my third floor small room at 20 Sibley Place in Rochester). (I still shudder when I remember my uncle, who helped move the larger major things to the “north land” and who nearly got his neck caught between the wall and a railing as he aided us in moving it to the lofty height.) Needless to say, it did not leave that room until three years (and two degrees) later—and several of my most difficult experiences turned out to be the occasional private harpsichord recital that could accommodate twenty people (if they would stand up and not breathe too deeply).

Especially memorable was just such a program that occurred when Isolde Ahlgrimm was brought to Eastman for other concerts and masterclasses. The music history department was filled with my friends, both faculty and students, and when they asked me whom to bring for Baroque music I was delighted to suggest my wonderful Austrian teacher, who was, that year, spending time at Oberlin as visiting professor. As she was wont to do, Ahlgrimm played the complete Well-Tempered Clavier preludes and fugues—but the most difficult thing for me was trying not to snub anyone who wanted to attend the program, but—it was a very tight and fairly long evening. But what playing . . .

It was at Eastman that I was able to commission my second organ piece (the first one had been a short offertory for my summer church job in Canton, Ohio, during the Oberlin days when I asked Calvin Hampton to compose something for a broadcast service). Since one of my topics in graduate study was Gregorian chant I had developed a program based on the Kyrie fons Bonitatis and was having trouble finding a contemporary work. The very young first-year student Neely Bruce endeared himself to me when he tapped me on the shoulder and asked where Dr. Bitchell’s office might be since he would like to audition for the Sacred Music Choir. When I stopped laughing I told him to be sure to say Bichsel, not Bitchell. Neely became a dear friend and after he left Eastman to return to Tuscaloosa for further study, he surprised the music rack of my Sperrhake with the first example of a newly composed harpsichord work specifically for me, his Nine Variations on an Original Theme—still a gem that I love to play.

Organ study with David Craighead was also a great joy and, even though I had only a Hammond organ to play at the nearby Lutheran Church of the Incarnate Word (a new edifice awaiting its already ordered Walter Holtkamp pipe organ), but even with the electronic instrument I was able to give the first Rochester performances of Distler’s A Little Advent Music and Benjamin Britten’s Rejoice in the Lamb. I was honored when offered an extension of my contract when it came time for graduation and a full-time job.

But the salary was not a living wage, and I was tired of the Arctic winters, so when I was offered a chance to fill a sabbatical leave vacancy at the African-American St. Paul’s College in Lawrenceville, Virginia, I accepted it happily. Those years of the earliest (and sometimes violent) Civil Rights events and the murders of so many great figures marked a most eventful time in our history. I was very happy to be organist and choral director, although once again that meant an electronic organ, but the friendships and the sheer joy of making beautiful music with my young singers continues to provide many happy memories.

And St. Paul’s was not that far from Norfolk, where I had heard that there might be an opening at Norfolk State College, the African-American state school in the city that also had Old Dominion College for the paler folk. And there it was that on my first day at the college I received a call from Lyman Beecher Brooks, the college president. Dr. Brooks was a very good administrator and, as the newest member of the faculty (having been hired to teach organ and start an early music program), I could not turn down his request: “The conductor of the choir has wrenched his back and is not able to rehearse them for the opening convocation. Would you be able to take over the rehearsal later this afternoon?” That was the prelude to some of the happiest times of my teaching career.

The choir was second only to the basketball team for the school, and, to finish my story, at the end of that first rehearsal I said to the choristers, “Take your music with you and come back tomorrow with it memorized.” They were good, but undisciplined, and to make a longer story short, they hit the ball out of its lower bounds and apparently made a hit with the audience. Brooks never gave the choir back to its former conductor and I had five exciting years of touring with them and of planning wonderful events including opportunities for them to sing at Oberlin, Wagner College, Westminster Choir College, churches in Washington D.C., etc. In my final year at NSC we took the Penderecki Stabat Mater on tour and Oberlin’s Robert Fountain had only the highest compliments. And it was with this group of stalwart singers and beautiful human beings that we joined Duke Ellington’s sacred music program in the Tidewater city of Portsmouth—one of the highest of high points in my lifetime of joy in making music.

It was during the 1960s decade that I submitted my first offering to The Diapason—a short biography of Hugo Distler. And thus it was in 1969 that Editor Frank Cunkle, who succeeded the magazine’s founder, turned over the harpsichord column to me.

To be continued.

Godwin Sadoh

Godwin Sadoh is a Nigerian ethnomusicologist, composer, church musician, pianist, organist, choral conductor, and scholar with over a hundred publications to his credit, including twelve books. His compositions have been performed and recorded worldwide. In 2004 at Louisiana State University, Baton Rouge, Sadoh distinguished himself as the first African to earn a doctoral degree in organ performance from any institution in the world. He has taught at several institutions including the Obafemi Awolowo University, the University of Pittsburgh, and the University of Nebraska-Lincoln. He is presently professor of music/LEADS Scholar at the National Universities Commission, Abuja, Nigeria. Sadoh’s biography is listed in Who’s Who in America, Who’s Who in American Education, and Who’s Who in the World.

An important event in the history of church music in Nigeria was observed in 2018. It connotes longevity and continuity as we celebrate the centenary of the oldest choral group in Nigeria (1918–2018), which finds its home in the oldest Anglican cathedral in Nigeria, the Cathedral Church of Christ, Marina, Lagos. The history of the Cathedral Choir began in 1895, when Reverend Robert Coker inaugurated the first Anglican choir in the country. The centenary is associated with the first choir festival celebrated on November 23, 1918, under the mantle of the progenitor, Thomas Ekundayo Phillips. Since then, the choir’s anniversary has been celebrated around this period on the Sunday nearest to Saint Cecilia’s Day in November each year. The choir has gone through several phases in the hands of organists and choirmasters, without losing its standard, tradition, fervor, ethics, and focus on cathedral liturgy and challenging musical heritage.

Singing has always been an integral part of worship at the Cathedral Church of Christ since its inception in 1867. It is referenced that the first organist, Robert A. Coker, just before his appointment as organist, was sent to England to expand his knowledge of church music in order to inaugurate a choir suitable for Christ Church, to be second to none in Nigeria. The choir was expected to be able to sing in a manner worthy of being regarded as a model by other churches. The initial choir set up by Coker comprised women and men. It was later reorganized during the ministry of Reverend Hamlyn, who replaced the women with boys and young men. The present choristers, comprising several choirboys together with the gentlemen of the choir who sing alto, tenor, and bass, continue this tradition of singing into the twenty-first century, providing music at worship services and other occasions throughout the year. The choir also reaches out to a wider audience by singing in live radio broadcasts during Easter and Christmas seasons, and also through their compact disc recordings. The basis of the choir’s ministry is the regular singing at cathedral services, but there are other activities, including choir feasts, picnics, as well as frequent concert appearances in the cathedral and other venues.

Repertoire 

The Cathedral Church of Christ Choir is one of the most respected choral groups in Nigeria and throughout the continent of Africa. It is particularly noted for its wide range of liturgical repertoire, which forms the bedrock of weekly worship in the excellent acoustics of the Gothic cathedral. The repertoire is similar to that of any typical English cathedral choir. It primarily reflects the seasons of the liturgical year, with plainsong antiphons and hymns, challenging festival anthems, and more flamboyant Eucharistic settings, such as Alan Wilson’s Mass Of Light and Mozart’s Mass in B-flat, in addition to the daily music. The repertoire encompasses a broad range of styles and compositions ranging from plainchant to classical, African-American spirituals, contemporary American praise choruses, and Nigerian indigenous gospel music.

The Cathedral Choir repertoire ranges from Orlando Gibbons anthems, motets, and madrigals to Herbert Howells’s strong individuality, to Edward Elgar’s combination of nobility and spirituality of utterance with a popular style. The choir has always incorporated the works of some indigenous Nigerian composers, mainly ex-choristers and present musicians of the Cathedral Church. Among the composers whose music still enriches the repertoire of the choir are the father of Nigerian church music, Thomas Ekundayo Phillips, whose indigenous sacred Yoruba compositions are often heard in the cathedral, and Fela Sowande, whose Responses in English are still sung regularly at Matins and Evensong. Other notable composers include Ayo Bankole, Samuel Akpabot, and Godwin Sadoh.

The choir is polyglot, performing works mainly in English, but occasionally singing in other European languages such as Latin as well as in the Yoruba dialect during special diocesan services of the Anglican Synod, combined mass choir or the augmented choir events,1 and Evensong. In recent years, it has given a few performances of some major works in the cathedral including Felix Mendelssohn’s St. Paul in November 2008 at its ninetieth anniversary concert, and Handel’s Messiah in December of that year. Some other major works that the Cathedral Choir has performed in the past include Handel’s Judas Maccabaeus in 1998, at the Musical Society of Nigeria (MUSON), Lagos, for its eightieth anniversary, Haydn’s The Creation in April 2001, and Johann Sebastian Bach’s Christmas Oratorio.

As the premier choir in Nigeria, Cathedral Church of Christ Choir has played a major role in shaping the direction and development of church music in Nigeria especially in the Anglican Communion. The choir’s work is felt not only in the Anglican Church, but in other denominations as well. The annual choir festivals, Advent carol services, Festival of Lessons and Carols, classical music concerts, choir feasts, and picnics continue to attract choristers and music enthusiasts from the Methodist, Baptist, Catholic, Charismatic, Lutheran, Presbyterian, Reformed, African, Evangelical, and non-denominational churches such as Pentecostals, from different parts of the southwest region of Nigeria. The choir connects American culture with Nigeria through the use of spirituals in the compositions of its ex-choristers and their musical training in American universities, primarily Fela Sowande.

Organists and masters of the music

The choir has been trained and directed by musicians such as Robert Coker, Thomas Ekundayo Phillips (1884–1969), Charles Obayomi Phillips (1919–2007), Olayinka Sowande (Fela Sowande’s younger brother), Tolu Obajimi, and presently, Babatunde Sosan (b. 1975). From the late nineteenth century to the present, those at the helm of music ministries at the cathedral have been skillful and talented.

Apart from the weekly routine of choir practices in preparation for Sunday worship, the master of the music and choirmasters are responsible for preparing the choir for concerts that feature repertoires of sacred choral, instrumental, and organ pieces. The concert performances are in the form of the annual choir festival, Advent carol service, Festival of Lessons and Carols, Easter cantata, Christmas concert, and various other concerts throughout the year.

Most of the music used for worship is by British composers: John Ireland, William Byrd, John Stainer, Bernard Rose, David Willcocks, John Rutter, Ralph Vaughan Williams, Samuel Wesley, Thomas Attwood, Charles Villiers Stanford, Malcolm Archer, George Thalben-Ball, Sydney Nicholson, Herbert Howells, Hubert Parry, Edward Elgar, Eric Thiman, Healey Willan, Walford Davies, Edward Bairstow, William Harris, Orlando Gibbons, Martin Shaw, William Boyce, William Matthias, Robert Cooke, and Charles Stanley. However, compositions from other European nationalities are occasionally incorporated into worship, including works of Beethoven, Mozart, Bach, Vivaldi, Liszt, Widor, Alain, and Schubert.2

The cathedral has been served by three generations of the Phillips family as organists and masters of the music. Ekundayo Phillips’s tenure was the longest, spanning forty-eight years (1914–1962). His son, Obayomi Phillips, served for thirty years (1962–1992). Tolu Obajimi occupied the same position for two decades (1993–2013). Olayinka Sowande spent the least amount of time in office, July to December 1992. The reason for the short term was that as the sub-organist to Obayomi Phillips for several years, he was next in line for promotion to the position of master of the music; thereafter the Cathedral Church gave him the position in 1992. However, old age did not permit Sowande to stay longer than six months in the position as he was already an octogenarian. Time and circumstances will determine the length of Babatunde Sosan’s tenure.

Choir training

The outstanding musical standard of the Cathedral Choir today reflects the models established by Thomas Ekundayo Phillips. Some of the ideals instituted by Phillips included strict discipline, clarity of diction and pronunciation, regular and punctual attendance at choir practices, correct interpretation of notes, voice balance, articulation, attack, comportment, reverence in worship, and utmost sense of good musicianship. As a pedantic choir director, his expectations were very high and certainly demanding, but the choir always rose to his standard and taste. Ekundayo Phillips’s philosophy toward choral training cannot be overemphasized. He would detect and correct any musical snag such as faulty notes emanating from any section of the choir. Ekundayo Phillips would also call to order any chorister who did not hold his music book correctly, such as covering his face with it or placing it on his lap while seated.

Before a choirboy or man can be admitted into the choir to sing in Sunday worship, he first goes through the rigorous probationary period that normally lasts several months. In the case of the choirboys, their probationary period lasts eight months, while probation for those who wish to join the choir as adults to sing alto, tenor, or bass is three months. The author remembers his probationary period in 1980 while still in high school. He attended the choir practices on Tuesday and Thursday evenings, but on Sundays would sit in the congregation for worship and was not allowed to sing with the choir until the three months of probation was completed. Whenever the young neophytes complete their probation, they are formally admitted into the Cathedral Choir at a special service in which their parents assist them to put on the white surplice over the black cassock. The induction ceremony is always a moment of joy and pride for the parents.

Choir ministry

The choir leads the congregation every Sunday in hymn singing, responses (antiphonal prayers set to music), special settings of liturgical music such as Venite, Benedictus, Te Deum, Nunc dimittis, Magnificat, Jubilate, and settings of the Eucharist. The master of the music uses the choir to teach the congregation new hymns, service music, and songs. This is realized by the choir first singing all verses of a hymn as an anthem on a Sunday, while the congregation is asked to sing along the following Sunday. Occasionally the choir sings several verses before the congregation joins. The Cathedral Church of Christ proves to be an inclusive culturally blended congregation in terms of hymnals used for worship. The church exemplifies the nature of an interdenominational faith-based organization with the use of hymnbooks from diverse churches. The hymnals used for worship include Hymns Ancient and Modern, Hymns Ancient and Modern Revised, Songs of Praise, Methodist Hymn Book, Hymnal Companion, Baptist Hymnal, Saint Paul’s Cathedral Psalter, Church Hymnal, Alternative Service Book, New English Hymnal, Redemption Hymnal, Broadman Hymnal, Sacred Songs and Solos, More Hymns for Today, American contemporary praise choruses found in Songs for Refreshing Worship, and indigenous hymns written by Ekundayo Phillips as well as other members of the choir.

Concert performances

There are other times in the year that the Cathedral Choir performs concerts in and outside of the church. Oratorios, cantatas, and orchestral works have been performed by the choir such as Mendelssohn’s Elijah in 1989, as well as Hymn of Praise and Saint Paul; Bach’s Christmas Oratorio in 1953; Coleridge-Taylor’s Hiawatha’s Wedding Feast; Handel’s Judas Maccabaeus and Ode on Saint Cecilia’s Day performed in 1998; Haydn’s Creation; Stainer’s Daughter of Jairus and Crucifixion performed in 1916; Davies’s The Temple; and Elgar’s Pomp and Circumstance performed by the Cathedral Church of Christ Choir Orchestra at the eightieth anniversary of the choir on November 22, 1998. On March 20, 2016, the Musical Society of Nigeria (MUSON), in collaboration with the cathedral, presented Fauré’s Requiem, featuring the MUSON Choir, Cathedral Choir, MUSON Chamber Orchestra, and MUSON Ensemble.

These concerts featured solos, choral, and instrumental music. The events often attract dignitaries, professional musicians, and students from far and near. The venues of the concerts include the Cathedral Church, Glover Memorial Hall, Musical Society of Nigeria (MUSON) Center, and other concert halls in Lagos.

Some of the concerts were specifically organized to raise funds for either the Cathedral Church or to buy a new organ. For instance, Ekundayo Phillips embarked on a concert tour with his choir to Abeokuta on August 24, 1930, and later to Ibadan, to raise funds to build a new pipe organ for the Cathedral Church. In these concerts, the Cathedral Choir performed mostly Ekundayo Phillips’s Yoruba songs to the delight of the indigenes of southwest Nigeria. The concerts were a success because the choir alone was able to raise more than half the cost of the organ.

In 1927, Ekundayo Phillips went as far as England to appeal to British congregations for money to build a pipe organ. He was able to raise a substantial amount through the successful rendition of some of his Yoruba compositions by Saint George’s Church Choir on October 23, 1927. The Yoruba songs were recorded by H. N. V. Gramophone Company in London, while the royalties from the sales of the recording were all given to the Cathedral Church of Christ, for the purchase of an organ in 1932.

The Cathedral Choir has performed for numerous dignitaries. The group performed before the British royal family, first in April 1921 at the cornerstone laying ceremony of the Cathedral Church of Christ, by His Royal Highness, the Prince of Wales. In January 1956, the choir performed before Her Majesty Queen Elizabeth II and Prince Phillip, when they worshiped at the Cathedral Church; and finally, on October 2, 1960, at the Independence Day service of Nigeria, attended by Her Royal Highness, Princess Alexandra. On an Advent Sunday in 1972, the Cathedral Choir performed with the King’s College Cambridge Choir, during their visit to Nigeria. The first broadcast by the Cathedral Choir on the British Broadcasting Corporation was aired on December 12, 1951.

Compact disc recordings

The Cathedral Choir’s work has not been restricted to only live performances at services and concerts. The choir has recorded some of its favorite works to reach out to the wider church music community. During the tenure of Thomas Ekundayo Phillips, the choir recorded two of his songs, Emi O Gbe Oju Mi S’Oke Wonni (I Will Lift Up My Eyes to the Hills—Psalm 121) and Ise Oluwa (The Work of the Lord) for the
BBC series, Church Music from the Commonwealth. In 2006, the choir released its first compact disc set, Choral Music: Volumes I & II. The two CDs contain a selection of hymns, anthems, psalms, Te Deum, and Jubilate that the Cathedral Choir has sung over decades. Composers of the selected works as usual were mostly British with the exception of the Cathedral Choir musicians, in particular, Thomas Ekundayo Phillips, Modupe Phillips, Obayomi Phillips, Soji Lijadu, Fela Sowande, Olusina Ojemuyiwa, Yinka Sowande, and Babatunde Sosan.

Conclusion

In spite of the stability and loyalty to the Anglican worship system, the music ministry at the Cathedral Church of Christ has gone through a transformation to conform with modern trends in Nigeria. The middle of the 1980s chronicles the emergence of the Neo-Pentecostal-Evangelical churches and university campus Christian fellowships all over the country. These were largely driven by an American innovation of worship and evangelistic methodologies. Hence, singing in those arenas is characterized by the adoption of contemporary American praise choruses. The new churches have been founded primarily by Nigerian pastors trained in American seminaries and Bible schools. The pastors, at the completion of their training in the United States, returned to Nigeria to establish an experiential worship that mirrored what they had been exposed to in the United States. Other factors that paved the way for the proliferation of American influences were the abundance of sermons and songs on audio and video recordings, praise chorus hymnbooks with staff notation, and Christian literature sold in local religious bookstores. These influences are interwoven into various strands of worship that undisputedly distinguish the new churches from the well-established Protestant churches such as the Anglican, Baptist, Lutheran, Presbyterian, and Methodist denominations.

On a final note, twenty-first-century congregational singing at the Cathedral Church of Christ is indeed a commixture of traditional hymns and contemporary American praise choruses, a tuneful blending of the American and the British influences. At each service, each congregant’s musical taste is met through the appropriation of a pluralistic worship. It is not only the indigenous members that are being catered to, but also visiting European and American worshippers who comfortably feel at home in the Cathedral Church of Christ with this type of multi-cultural musical repertoire. While all these evolutions continue, the Cathedral Choir and its musicians have painstakingly endeavored to maintain a befitting exceptional musical standard that it is reputed as a role model for other choirs, thereby preserving the legacies of the founding fathers of the choir, namely, Robert Coker, Thomas Ekundayo Phillips, and Charles Obayomi Phillips.

The Cathedral Church of Christ, Lagos, website: https://www.thecathedrallagos.org

Notes

1. Combined Mass Choir or Augmented Choir is a choral outfit comprising of about a hundred voices made up of choristers from various Anglican churches in Lagos.

2. This essay is derived from the author’s book, The Centenary of the Cathedral Church of Christ Choir, Lagos (Columbus, Ohio: GSS Publications, 2018).